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A Christmas Carol – Knowledge Organiser Plot summary: 1. Ebernezer Scrooge is at work in his counting house. Despite the Christmas Eve cold, he refuses to spend money on coals for the fire. Scrooge's turns down his nephew, Fred’s, invitation to his Christmas party and the request of two men who want money for charity. 2. Scrooge is visited by the ghost of his dead partner, Jacob Marley, who tells Scrooge that, due to his greedy life, he has to wander the Earth wearing heavy chains. Marley tries to stop Scrooge from doing the same. He tells Scrooge that three spirits will visit him during the next three nights. Scrooge falls asleep. 3. He wakes and the Ghost of Christmas Past takes Scrooge into the past. Invisible to those he watches, Scrooge revisits his childhood school days, his apprenticeship with a jolly merchant named Fezziwig, and his engagement to Belle, who leaves Scrooge as he loves money too much to love another human being. Scrooge sheds tears of regret before being returned to his bed. 4. The Ghost of Christmas Present shows Scrooge Christmas as it will happen that year. Scrooge watches the Cratchit family eat a tiny meal in their little home. He sees Bob Cratchit's crippled son, Tiny Tim, whose kindness and humility warm Scrooge's heart. The spectre shows Scrooge his nephew's Christmas party. Scrooge asks the spirit to stay until the very end. Toward the end of the day the ghost shows Scrooge two starved children, Ignorance and Want. He vanishes as Scrooge notices a dark, hooded figure coming. 5. The Ghost of Christmas Yet to Come takes Scrooge through a sequence of scenes linked to an unnamed man's death. Scrooge, is keen to learn the lesson. He begs to know the name of the dead man. He finds himself in a churchyard with the spirit pointing to a grave. Scrooge looks at the headstone and is shocked to read his own name. He is desperate to change his fate and promises to change his ways. He suddenly finds himself safely tucked in his bed. 6. Scrooge rushes out onto the street hoping to share his newfound Christmas spirit. He sends a turkey to the Cratchit house and goes to Fred's party, As the years go by, he continues to celebrate Christmas with all his heart. He treats Tiny Tim as if he were his own child, gives gifts for the poor and is kind, generous and warm. Key characters

Key themes

Historical context

Ebernezer Scrooge – A selfish business man who transforms into a charitable philanthropist. Fred – Scrooge’s nephew whose party invitation he declines Jacob Marley – Scrooge’s dead partner who returns as a ghost to warn scrooge to change his ways. Bob Cratchitt – Scrooge’s clerk who doesn’t have much money. He loves his family and is shown to be happy and morally upright. Tiny Tim – Bob’s ill son whose story plays a part in inspiring Scrooge’s transformation. Mrs Cratchitt – Bob’s wife The Ghost of Christmas Past – A strange combination of young and old, wearing white robes and looking like a candle. The Ghost of Christmas Present - A portly, jovial gentleman surrounded by a warm glow. He brings joy on the most needy townsfolk. The Ghost of Christmas Yet To Come – A robed and hooded spirit who confronts Scrooge with his own tombstone. Fezziwig – Scrooge’s ex-employer Belle – A woman who scrooge was in love with who left him due to his greed. Fan – Scrooge’s sister

Greed Predestination Free Will Poverty Class Stratification Isolation Transformation The passage of time Family Guilt Generosity Redemption Capitalism Social Responsibility Justice The supernatural

1824 – Dickens’ father is sent to jail for debt and Dickens has to give up his education until his father inherits some money and he goes to a private school Dickens was put to work in a warehouse, pasting labels on bottles. He had experience of poverty. Dickens became a writer of fiction and journalism, reporting on court cases and working for radical newspapers on his disillusionment with politics and the class system. 1832 – The Great Reform Bill gave many middle class property owners the right to vote for the first time. Large sections of the middle classes, the working classes and women still didn’t have the right to vote. 1834 – Poor Law Amendment Act – Led to a cut in aid given to paupers to help them stay in their own homes. Workhouses were created which poor people would have to live and work in, if they were unable to pay for their own housing. December 1840 and February 1843 – Children’s Employment Commission reports. September 1843 – Dickens visits a “Ragged School.” October 1843 – Dickens speaks at an event for Manchester Athenaeum, an organisation bringing education and culture to the working masses. December 1843 Dickens writes A Christmas Carol focusing on how many of society’s ills can be blamed on greed for money and status. December 1843 Dickens writes A Christmas Carol focusing on how many of society’s ills can be blamed on greed for money and status.

Stylistic features and relevant terms Allegory Ambiguity Analepsis Anti-hero Benthamism Gothic Grotesque Morality tale Malthusian economics Metaphor Motif Non-chronological narrative Omniscient narrator Pathetic fallacy Personification Prolepsis Pursued protagonist Sabbatarianism Simile The sublime Symbolism

Key Quotations “Oh! But he was a tight-fisted hand at the grindstone, Scrooge…a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster.” “The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas. External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect.” “No beggars implored him to bestow a trifle, no children asked him what it was o'clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge.” “It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them. The city clocks had only just gone three, but it was quite dark already-- it had not been light all day--and candles were flaring in the windows of the neighbouring offices, like ruddy smears upon the palpable brown air. The fog came pouring in at every chink and keyhole, and was so dense without, that although the court was of the narrowest, the houses opposite were mere phantoms. To see the dingy cloud come drooping down, obscuring everything, one might have thought that Nature lived hard by, and was brewing on a large scale.” “He had so heated himself with rapid walking in the fog and frost, this nephew of Scrooge's, that he was all in a glow; his face was ruddy and handsome; his eyes sparkled, and his breath smoked again.” “‘…a few of us are endeavouring to raise a fund to buy the Poor some meat and drink, and means of warmth. We choose this time, because it is a time, of all others, when Want is keenly felt, and Abundance rejoices. What shall I put you down for?’ ‘Nothing!’ Scrooge replied.” “The ancient tower of a church, whose gruff old bell was always peeping slily down at Scrooge out of a Gothic window in the wall, became invisible, and struck the hours and quarters in the clouds, with tremulous vibrations afterwards as if its teeth were chattering in its frozen head up there.” “Foggier yet, and colder. Piercing, searching, biting cold.” The fog and frost so hung about the black old gateway of the house, that it seemed as if the Genius of the Weather sat in mournful meditation on the threshold. 'If he wanted to keep them after he was dead, a wicked old screw,' pursued the woman, 'why wasn't he natural in his lifetime? If he had been, he'd have had somebody to look after him when he was struck with Death, instead of lying gasping out his last there, alone by himself.' “…as I hope to live to be another man from what I was, I am prepared to bear you company, and do it with a thankful heart.” “He went to church, and walked about the streets, and watched the people hurrying to and fro, and patted children on the head, and questioned beggars, and looked down into the kitchens of houses, and up to the windows, and found that everything could yield him pleasure. He had never dreamed that any walk – that anything – could give him so much happiness.” “Old Marley was as dead as a door-nail.” “Marley's face. It was not in impenetrable shadow as the other objects in the yard were, but had a dismal light about it, like a bad lobster in a dark cellar. It was not angry or ferocious, but looked at Scrooge as Marley used to look: with ghostly spectacles turned up on its ghostly forehead. The hair was curiously stirred, as if by breath or hot air; and, though the eyes were wide open, they were perfectly motionless. That, and its livid colour, made it horrible; but its horror seemed to be in spite of the face and beyond its control, rather than a part of its own expression.” “Darkness is cheap, and Scrooge liked it.” “The chain he drew was clasped about his middle. It was long, and wound about him like a tail; and it was made (for Scrooge observed it closely) of cash-boxes, keys, padlocks, ledgers, deeds, and heavy purses wrought in steel.” “Old Fezziwig…rubbed his hands; adjusted his capacious waistcoat; laughed all over himself, from his shoes to his organ of benevolence; and called out in a comfortable, oily, rich, fat, jovial voice:” “It was a strange figure-like a child: yet not so like a child as like an old man, viewed through some supernatural medium, which gave him the appearance of having receded from the view, and being diminished to a child's proportions.” “‘Why did I walk through crowds of fellow-beings with my eyes turned down, and never raise them to that blessed Star which led the Wise Men to a poor abode! Were there no poor homes to which its light would have conducted me!’” “'The school is not quite deserted,' said the Ghost. 'A solitary child, neglected by his friends, is left there still.' Scrooge said he knew it. And he sobbed” “In easy state upon this couch, there sat a jolly Giant, glorious to see, who bore a glowing torch, in shape not unlike Plenty's horn, and held it up, high up, to shed its light on Scrooge, as he came peeping round the door.” “The Phantom slowly, gravely, silently approached. When it came, Scrooge bent down upon his knee; for in the very air through which this Spirit moved it seemed to scatter gloom and mystery.” “in the busy thoroughfares of a city, where shadowy passengers passed and repassed; where shadowy carts and coaches battled for the way, and all the strife and tumult of a real city were.” “There was an eager, greedy, restless motion in the eye, which showed the passion that had taken root, and where the shadow of the growing tree would fall.” “the relentless Ghost pinioned him in both his arms, and forced him to observe what happened next.” “…though Scrooge pressed it down with all his force, he could not hide the light: which streamed from under it, in an unbroken flood upon the ground.”

A View from the Bridge: Knowledge Organiser Characters

Plot

Eddie

Eddie’s transformation, a loving uncle who turns obsessive and irrational, is the central story of the play. His Act 1: Alfieri addresses the audience, and already foreshadows doom. We are then introduced to a simple obsession with respect and masculine reputation doom him. but loving home environment. Devoted, protective, loyal > jealous, obsessive “I want my respect.”

Beatrice

Beatrice sticks by her husband even though she knows he is wrong, but that does not mean she won’t criticise his actions. Honest, blunt, loving, loyal, jealous?

There is a hint at latent tensions as Beatrice encourages Catherine’s independence and Eddie makes comments on Catherine’s appearance and is overprotective.

“When am I going to be a wife again Eddie?” (1) “You want something else Eddie, and you can never have her!” (2)

Catherine

Catherine loves her uncle and supports him even though it is clear he ‘wants something else’. However, this changes when he symbolically rapes her, and she asserts herself. Naive, kind, weak, submissive > assertive “I can tell a block away when he's blue in his mind and just wants to talk to somebody quiet and nice."

Marco and Rodolfo arrive and are gracious guests. Marco wants to save for his children, Rodolfo entertains everyone by singing ‘Paper Doll’

Rodolfo

Most of what we learn about Rodolfo comes from others, particularly Eddie, who judges him harshly for being different. "No; I will not marry you to live in Italy. I want you to be my wife, and I want to be a citizen."

Eddie becomes jealous of Rodolfo and Catherine spending lots of time together and tells Catherine that Rodolfo is using her for a visa

Marco

Marco tells Rodolfo to respect Eddie despite his irrational demands whilst also protecting his little brother, Eddie goes to see Alfieri who says there is no legal problem and he should forget about the whole issue. that is until Eddie doom’s Marco’s children causing his violent reaction. Deferent, a peacemaker, respectful, protective "All the law is not in a book."

Alfieri

As the narrator, Alfieri seems to uphold American law, yet when he admits he ‘mourns’ Eddie at the end he shows the predicament of Italian American immigrants. Calm, rational, eloquent "Now we are quite civilized, quite American. Now we settle for half, and I like it better."

Eddie and Rodolfo box, protective of Rodolfo, Marco humiliates Eddie in a show of strength.

Mike and Louis

Mike and Louis are Eddie’s friends, and in the play they serve to heighten his irrationality and insecurity. “He’s [Marco] a regular bull. ” “That blond one, though... He’s got a sense of humor.”

Act: Catherine and Rodolfo are left alone and have sex. Immediately afterwards Eddie comes back drunk and kisses them both. Marco and Rodolfo move in with Lipari, who already has illegal immigrant relatives staying with him.

Themes and Context Respect and reputation

Eddie is destroyed by his need for respect, fuelled by Italian ideas about community. He thinks that as the breadwinner he should be in charge and sees Catherine’s independence and Beatrice ’s support of the marriage as disrespectful. Does this obsession ruin him?

Marco and Rodolfo are arrested and Marco spits in Eddie’s face.

Immigratio n

Alfieri’s final eulogy for Eddie shows the conflicted nature of immigrants, trapped between two different identities. The view from the bridge acts as a central metaphor, a linkage between two worlds.

Alfieri pays the cousin's’ bail and arranges Catherine and Rodolfo’s wedding.

Masculinity Mike and Louis’ mockery of Rodolfo and respect for Marco reveal the masculine code of Red Hook: be strong, work hard, and don’t act ‘funny’. How does this view affect the men’s behaviour? Family

Eddie visits Alfieri again. Alfieri advises Eddie to let her go. Immediately afterwards Eddie calls the immigration Bureau

The play shows the fragility of loving families, and how powerful emotions can tear people apart.

On the wedding, Marco comes looking for revenge and Eddie is killed with his own knife. Techniques

Femininity Women are expected to passively obey their husbands, and Eddie sees Beatrice’s criticism and Catherine’s actions as disloyal. There is a hint that Beatrice is jealous of Catherine , showing a lack of solidarity. Do the women have many real options in Red Hook?

Key symbols include the chair, high heels, the lighting of the cigar, the Brooklyn bridge, the double kiss, Paper Doll

Betrayal Loyalty to an Italian code of beliefs and to the community are paramount in Red Hook, just as women are and loyalty expected to be loyal to their husbands, but at what cost?

It is ironic that Eddie causes his own demise, embodied in his knife hitting “home” and killing him. Equally, his discussion of how Vinny ratted out the ‘submarines’ in Act 1 later foreshadows his own actions.

Fate

Alfieri and a narrator is integral to the play as a tragedy , providing moral commentary and foreshadowing the outcome.

Miller set out to write ‘the tragedy of the common man’ and in the play, Eddie’s fate is predetermined. Foreshadowed from the start, he seems doomed by his Italian heritage and his class. Who is to blame for Eddie’s demise?

Stage directions (such as Eddie “unconsciously twisting the newspaper” are integral to the creation of setting and character.

A Christmas Carol Knowledge Organiser Plot Summary:

Context:

Stave 1 – A mean-spirited, miserly old man named Ebenezer Scrooge sits in his counting-house on Christmas Eve, he

Dickens – Dickens’ father was sent to jail for debt and Dickens was forced to give up his education until inheritance money could pay for private tuition. He was put to work in a warehouse, pasting labels on bottles and gaining first-hand experience of poverty. Dickens became a writer of fiction and journalism, reporting on court cases and working for radical newspapers on his disappointment with politics and the class system. Victorian Literature – Victorian literature, written during Queen Victorian’s reign, was largely characterised by the struggle of the poor and the triumph of right over wrong. The age saw a huge amount of self-improvement guides published, focusing on morals, manners and etiquette and household management. Having said that, the Victorians also advocated good humour, joviality and celebration (Queen Victoria had both a Golden and a Diamond jubilee in this era). Themes allude to industrialisation, social class, reform and Empire. Workhouses – In 1834 the Poor Law Amendment Act was designed to reduce the cost of looking after the poor. If people wanted help they had to go into a workhouse to get it. Once admitted to the workhouse, people were known as inmates, and categorised according to their status. Men, women and children were segregated, some never to be reunited. Meals were cheap, filling food such as gruel (a thick porridge-like sludge). The workhouses were strictly run, with many rules which were to be adhered to at all times, with severe consequences for those who refused them. Prisons – Victorians were worried about the rising crime rate: and were firm believers in punishment for criminals. They had clear ideas about what these prisons should be like: unpleasant places, of laborious work to deter people from committing crimes. Children – For the poor, there often wasn’t the time or energy for play. Starvation and cold were facts of life, and many children were expected to contribute to household income. Children worked in huge, unsafe factories for very small wages. Others worked in suffocating mines and smaller children were chimney sweeps.

refuses to spend money on heating coals for a fire. Scrooge reacts to the holiday visitors with bitterness, spitting out "Bah! Humbug!" in response to his nephew's "Merry Christmas!" Later that evening, Scrooge receives a chilling

visitation from the ghost of his dead partner, Jacob Marley., who relates his unfortunate story. Marley hopes to save Scrooge from sharing the same fate. Stave 2 – The Ghost of Christmas Past, a childlike phantom with a brightly glowing head, escorts Scrooge on a journey

to previous Christmases. He revisits his school days, his apprenticeship with a jolly merchant named Fezziwig and his

engagement to Belle, a woman who leaves Scrooge because of his lust for money. Scrooge is deeply moved. Stave 3 – The Ghost of Christmas Present, a majestic giant in a green robe, takes Scrooge through London to unveil

Christmas as it will happen that year. Scrooge watches the Cratchit family prepare a miniature feast in a meagre home,

then to his nephew's to witness the Christmas party. Toward the end of the day, he shows Scrooge two starved children, Ignorance and Want, living under his coat.

Stave 4 – The Ghost of Christmas Yet to Come leads Scrooge through mysterious scenes relating to an unnamed man's

recent death. Scrooge sees businessmen discussing the dead man's riches, some homeless people trading his personal possessions for cash, and a poor couple expressing relief at the death of their unforgiving moneylender. He then finds

himself in a churchyard, the spirit pointing to a grave. Scrooge is shocked to read his own name on the stone. He begs the spirit to alter his fate, promising to change his cruel, insensitive, ways and to honour Christmas with all his heart.

Stave 5 – Overwhelmed with joy by the chance to redeem himself, Scrooge rushes out to send a giant Christmas

turkey to the Cratchit house and attends Fred's party. As the years go by, he holds true to his promise and honours Christmas with all his heart: he treats Tiny Tim as if he were his own child, provides lavish gifts for the poor, and treats

his fellow human beings with kindness, generosity, and warmth.

Key Characters: Ebenezer Scrooge – A selfish business man. Fred – Scrooge’s nephew. Jacob Marley – Scrooge’s dead partner who returns as a ghost to warn scrooge to change his ways. Bob Cratchitt – Scrooge’s clerk who doesn’t have much money. Mrs Cratchitt – Bob’s wife. Tiny Tim – Bob’s ill son. The Ghost of Christmas Past – A combination of young and old, wearing white robes and looking like a candle. The Ghost of Christmas Present - A jovial gentleman surrounded by a warm glow. The Ghost of Christmas Yet To Come – A robed and hooded spirit. Fezziwig – Scrooge’s ex-employer. Belle – A woman who Scrooge was in love with who left him. Fan – Scrooge’s sister.

Key Themes: Greed Generosity Social Injustice Poverty Capitalism Class Isolation Transformation Time Family Guilt Redemption Supernatural

A Christmas Carol Knowledge Organiser Key Quotes:

Methods:

Scrooge – “Oh! But he was a tight-fisted hand at the grindstone.”

“Hard and sharp as flint.”

“Secret, and self-contained, and solitary as an oyster.” “No warmth could warm, no wintry weather chill him.” “Are there no prisons?” 'Bah!' said Scrooge, 'Humbug!' “Decrease the surplus population.” "What right have you to be dismal? What reason have you to be morose? You're rich enough." [Fred] Marley – "I wear the chain I forged in life." "The spirit within him should walk abroad among his fellowmen, and travel far and wide; and if that spirit goes not forth in life, it is condemned to do so after death.” Christmas Past – “It was a strange figure-like a child: yet not so like a child as like an old man.” “A solitary child, neglected by his friends, is left there still.” “The happiness he [Fezziwig] gives, is quite as great as if it cost a fortune.” Christmas Present – “There sat a jolly Giant, glorious to see, who bore a glowing torch, in shape not unlike Plenty's horn.” “Oh, a wonderful pudding! Bob Cratchit said, and calmly too, that he regarded it as the greatest success achieved by Mrs Cratchit since their marriage.” “I see a vacant seat by the poor chimney corner, and a crutch without an owner...carefully preserved. If these shadows remain unaltered by the future, the child will die.” “God bless us, every one!” “Will you decide what men shall live, what men shall die?” “This boy is Ignorance. This girl is Want. Beware them both.” Christmas Yet to Come – “The Phantom slowly, gravely, silently approached.” “Scrooge crept towards it, trembling as he went; and following the finger, read upon the stone of the neglected grave his own name, Ebenezer Scrooge.” Redemption – “I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future!” “Scrooge was better than his word. He did it all, and infinitely more!” “His own heart laughed: and that was quite enough for him.”

Noun – A word for a person, place or thing. Pronoun – A word used when referring to someone or something. Verb – A word used to describe an action, state or occurrence. Adjective – A word to describe a noun. Adverb – A word used to describe a verb. Simile – A phrase comparing one thing to another, using as or like. Metaphor – A phrase comparing one thing to another, without using as or like.) Personification – A phrase giving human characteristics to a non-human object. Imagery – Words or phrases that create visual images. Emotive language – Words that create feeling and emotion. Colloquial language – Words that are informal and slang. Semantic field – A group of words that follow the same theme. Rhetorical question – A question that does not require an answer. Alliteration – Words close together that begin with the same sounding letter. Assonance – Words close together that begin with a vowel sound. Sibilance – Words close together that begin with an ‘s’ sound. Oxymoron – A phrase using contradictory words. Onomatopoeia – Words that create a sound. Symbolism – The representation of ideas in images or motifs. Pathetic Fallacy – A technique where the weather reflects the mood of the story. Punctuation – Marks used to separate or express meaning. Repetition – A word or phrase that is repeated. Dialogue – Words that are spoken by a character. Perspective – A point of view. Text can be written form a first (I), second (you) or third person (he/she/they) perspective. Sentence structures – The way that sentences are put together. Sentences can be simple (main clause), compound (main clauses joined with a conjunction, comma or semi colon) or complex (main and subordinate clauses). Foreshadowing – A hint or a warning of something in the future. Withholding – A technique where the author to holds back important information. Juxtaposition – Two concepts, themes, ideas or characters that are contrasting or opposite. Stave – A set of five parallel lines on which musical notes are written. Bildungsroman – A story which focuses on the psychological, moral or spiritual growth of a character.

Sentence Starters: Dickens presents… Quote (embedded) This suggests to the reader… Dickens is revealing… (his ideas/context) In particular, Dicken’s use of (method) implies …

Key Words: Christmas – A Christian holiday to celebrate the birth of Christ. Tradition – customs, celebrations or beliefs passed down through generations. Victorian – the era of Queen Victoria’s reign. Ignorance – a lack of knowledge. Want – a desire to have something. Supernatural – a being or event beyond natural understanding. Moral – the standards of right or wrong. Redemption – the act of being saved from sin. Clerk – an office worker. Debtors – people who owe money to a money-lender, such as Scrooge. Grief – intense sadness. Transformation – a change in personality or appearance. Capitalism – an economic and political system in which a country is controlled by private owners for profit, rather than by the state. Abundance – a large amount. Poverty – being very poor. Social criticism – comments on a society’s problems and issues. Novella – a short novel.

An Inspector Calls Knowledge Organiser Plot Summary:

Context:

Act 1: 1. The play is set in 1912, in the fictional city of Brumley, North Midlands. The stage directions reveal that the play takes place in a large suburban house, owned by a wealthy business man. Mr Birling, his family and Gerald all sit around the dining table after dinner. They talk and Sheila mentions how Gerald did not contact her very much last summer. Eric appears to be a little drunk. 2. Mr Birling gives a short speech on Sheila and Gerald getting married. Gerald gives Sheila a ring. 3. Birling gives a long speech on progress. Sheila & Mrs Birling leave. 4. Birling tells Gerald that he might get a knighthood. Birling talks to Gerald and Eric about the idea of ‘community’. 5. The Inspector enters and tells the family of the death of a young woman called Eva Smith. 6. The Inspector questions Birling and shows him the photo. 7. Despite Mr Birling’s statues, the Inspector is confident, abrupt and mysterious. 8. Mr Birling sacked Eva Smith from his factory 2 years ago, in September 1910. She led a group to strike in order to obtain a pay rise, which was unsuccessful and the ring leaders were sacked. 9. Mr Birling defends his action and Gerald supports him. 10. Sheila enters and hears about Eva Smith, she is upset by the news of the girl’s suicide. 11. The Inspector informs the Birlings that after being sacked, she began working in Millwards in December 1910. However, she was sacked one month later after a complaint by a customer. 12. The Inspector shows Sheila the photo and she runs out upset. The Inspector talks to the men. 13. The Inspector questions Sheila / she talks about how she knew Eva Smith and that she believed it was her fault that the girl was sacked. 14. She explains that she was in a bad mood and felt the girl was laughing at her. She also admits she was jealous at how pretty Eva was. 15. The name ‘Daisy Renton’ comes up after the Inspector explains that this is the name Eva Smith began calling herself and Sheila and Gerald have a heated discussion about this. 16. Sheila realises that Gerald was having an affair with Daisy at some point the previous year.

Act 2: 1. The Inspector begins to talk about joint responsibility. 2. Mrs Birling acts in a superior manner, referring to Eva’s lower class and talking down to Sheila. 3. Sheila indicates that Eric drinks too much, which Gerald agrees with. Mrs Birling is shocked and annoyed. 4. Sheila warns her parents that they are making the situation worse. 5. Gerald explains how he met Daisy in a bar. Sheila’s parents do not want her to hear the story but she refuses to leave. 6. Gerald is visibly distressed by the reality of Daisy’s death. 7. He discusses how he took Daisy for a drink having helped her get away from an old council man, who he describes as a “womanising drunk”. 8. Gerald explains how Daisy had no money and was hungry/ He then moved her innocently into a friend’s apartment and they later became lovers. Mrs Birling is disgusted by his behaviour. 9. Gerald explains that he did not love Daisy and that he broke up with her in September 1911. 10. Sheila returns her engagement ring – she says she respects Gerald’s honesty but that they are now different people. 11. The Inspector shows Mrs Birling the photo. The front door slams and Birling leaves then returns. 12. The Inspector questions Mrs Birling, revealing that Eva was pregnant and that she had asked Mrs Birling’s charity, the Brumley Woman’s Charity Organisation, for help. 13. Mrs Birling reveals that Eva was using the name Mrs Birling ad that it was therefore her duty to have her claim for help refused. 14, The Inspector reveals that Eva was pregnant – but clarifies it wasn’t Gerald’s child. 15. The Inspector manipulates Mrs Birling into stating that it was entirely the father of Eva’s child who was to blame for her death. 16. The audience and characters gradually realise that Eric is the father. 17. Sheila cries and Eric enters.

Act 3: 1. Eric talks to Sheila, Mrs Birling, Mr Birling and the Inspector. Eric has a drink. 2. The Inspector questions Eric. Sheila and Mrs Birling leave. 3. Eric tells the story of how he knew Eva Smith. He discusses how he became and drunk and aggressive before Eva allowed him into her flat. 4. Eric says that when the two met up again, they began a short relationship. Eric tried to help Eva by stealing money from his father’s company, which she refused to take. 5. Sheila and Mrs Birling return. Eric accuses Mrs Birling of killing his child. 6. The Inspector makes his final speech. Telling them that they all killed Eva Smith, summing up what each family member had done, before reminding Mr. Birling that he had destroyed a girl over a small pay rise. 7. The Inspector then discusses the state of the country and how we are all “responsible for each other.” 8. The Inspector leaves. 9. The family argue and question whether he was a real inspector or not. The doorbell rings. Gerald enters. 10. Gerald tells them he wasn’t a real police officer. Mr Birling calls the Chief Constable to check. 11. The family argue. Mr Birling and Mrs Birling are happy, while Sheila & Eric are not. 12. Gerald questions if there was in fact one girl that all the separate events happened to and if a girl died at all that evening. Gerald calls the infirmary, who say that no girl has been brought in / they have not had any suicides. 13. Everyone is happy apart from Sheila and Eric. 14. The phone rings and Birling answers. It was the police saying an inspector is coming to ask some questions as a girl has just died on her way to the infirmary.

J.B Priestley - John Boynton Priestley was born in Yorkshire in 1894. He knew early on that he wanted to become a writer. However, he became a junior clerk with a local wool firm at the age of 16. When the First World War broke out, Priestley joined the infantry and only just escaped death on a number of occasions. After the war, he wrote successful articles and essays. During the Second World War he broadcast a massively popular weekly radio programme which was eventually cancelled by the BBC for being too critical of the Government. Political views - During the 1930's Priestley became very concerned about the consequences of social inequality in Britain, and in 1942 Priestley and others set up a new political party, the Common Wealth Party. Priestley was influential in developing the idea of the Welfare State which began to be put into place at the end of the war. 1912 – The time the play was set – World Wars - The First World War would start in two years. Birling's optimistic view that there would not be a war is completely wrong. Class distinction - There were strong distinctions between the upper and lower classes. Women - Women were subservient to men. All a well off women could do was get married; a poor woman was seen as cheap labour. Men and woman had specific roles and expectations. Women were seen as the ‘weaker’ sex. Political views - The ruling classes saw no need to change the status quo. Trade unions however, were beginning to form in order to gain better working conditions for workers. 1945 – The year the play was written – World Wars - The Second World War ended in Europe on 8 May 1945. People were recovering from nearly six years of warfare, danger and uncertainty. Class distinction - Class distinctions had been greatly reduced as a result of two world wars. Men of different classes fought side by side despite previous differences. Women - As a result of the wars, women had earned a more valued place in society due to their determination to keep the country running during the war. Woman were encouraged to take on jobs that prior to the war they were not encouraged to do. Political Views - There was a great desire for social change. Immediately after The Second World War, Clement Attlee's Labour Party won a landslide victory over Winston Churchill and the Conservatives. 1912 - Priestley deliberately set his play in 1912 because the date represented an era when all was very different from the time he was writing. In 1912, rigid class and gender boundaries seemed to ensure that nothing would change. Yet by 1945, most of those class and gender divisions had been breached. Priestley wanted to make the most of these changes. Through this play, he encourages people to seize the opportunity the end of

Key Characters: Inspector - Priestley’s mouthpiece; advocates social justice. Mr Birling -Businessman, capitalist, against social equality. Mrs Birling - Husband’s social superior, believes in personal responsibility. Sheila - Young girl, comes to change views and pities Eva, feels regret. Eric - Young man, drinks too much, gets Eva pregnant, and regrets actions. Gerald - Businessman, engaged to Sheila, politically closest to Birling. Eva - Unseen in play, comes to stand for victims of social injustice.

Key Themes: Morality Survival of the Fittest Social Responsibility Personal Responsibility Inequality Young and Old Generations Love Gender Differences

An Inspector Calls Knowledge Organiser Key Quotes:

Inspector Goole – • •

• •

• Mr Birling – • • • • • Mrs Birling - • • • • • Sheila – • • • • • Eric – • • •

•

• Gerald – • • •

• •

“she'd swallowed a lot of strong disinfectant. Burnt her inside out, of course.” “But after all it's better to ask for the earth than to take it.” “(dryly) I don't play golf.” “(harshly) Yes, but you can't. It's too late. She's dead.” “Each of you helped to kill her. Remember that. Never forget it.”

“Unsinkable. Absolutely unsinkable” “The Germans don’t want war!” “Community and all that nonsense” “Still, I can't accept any responsibility.” “Look Inspector, I’d give thousands – yes thousands” “Arthur, you're not supposed to say such things” “Girls of that class” “That – I consider – is a trifle impertinent, inspector” “Go and look for the father of the child. It's his responsibility” “I'm sorry she should have come to such a horrible end. But I accept no blame for it at all.”

“Now I really feel engaged” “Sorry Daddy. Actually I was listening” “But these girls aren’t cheap labour – they’re people.” “I’ll never, never do it again” “Why you fool – he knows!”

“I don't know – really. Suddenly I felt I just had to laugh” “Why shouldn't they try for higher wages?” “You haven't made it any easier for me, have you, mother?” “I wasn't in love with her or anything – but I liked her” “you killed her – and the child she'd have had too”

“You seem to be a nice well-behaved family” “Getting a bit heavy-handed, aren't you, Inspector?” “So – for god's sake – don't say anything to the Inspector” “Sorry – I – well, I've suddenly realized – taken it in properly – that's she's dead-” “I didn't feel about her as she felt about me”

Methods:

Sentence Starters:

Noun – A word for a person, place or thing. Pronoun – A word used when referring to someone or something. Verb – A word used to describe an action, state or occurrence. Adjective – A word to describe a noun. Adverb – A word used to describe a verb. Simile – A phrase comparing one thing to another, using as or like. Metaphor – A phrase comparing one thing to another, without using as or like.) Personification – A phrase giving human characteristics to a non-human object. Imagery – Words or phrases that create visual images. Emotive language – Words that create feeling and emotion. Colloquial language – Words that are informal and slang. Semantic field – A group of words that follow the same theme. Rhetorical question – A question that does not require an answer. Alliteration – Words close together that begin with the same sounding letter. Assonance – Words close together that begin with a vowel sound. Sibilance – Words close together that begin with an ‘s’ sound. Oxymoron – A phrase using contradictory words. Onomatopoeia – Words that create a sound. Symbolism – The representation of ideas in images or motifs. Punctuation – Marks used to separate or express meaning. Repetition – A word or phrase that is repeated. Dialogue – Words that are spoken by a character. Perspective – A point of view. Text can be written form a first (I), second (you) or third person (he/she/they) perspective. Sentence structures – The way that sentences are put together. Sentences can be simple (main clause), compound (main clauses joined with a conjunction, comma or semi colon) or complex (main and subordinate clauses). Foreshadowing – A hint or a warning of something in the future. Withholding – A technique where the author holds back important information. Juxtaposition – Two concepts, themes, ideas or characters that are contrasting or opposite. Stage directions – an instruction indicating the movement, position, or tone of an actor, sound effects and lighting. Dramatic irony – A technique where the audience knows more than a character.

Priestley presents…

Key Words:

Quote (embedded) This suggests to the audience… Priestley is revealing… (his ideas/context) In particular, Priestley’s use of (method) implies …

Guilt – having committed a specified or implied offence or crime. Conscience – a person's moral sense of right and wrong. Capitalist – a person who uses their wealth to invest in trade and industry for profit. Edwardian – A period or era of time Social Class - a division of a society based on social and economic (money) status. Mockery – teasing language or behaviour. Society – people living together in a community. Scandal - an action or event that is morally or legally wrong Authority - the power or right to give orders or make decisions. Moral – the idea of right or wrong behaviour. Hypocritical – behaving in a way that suggests a person has higher standards or better social beliefs. Social responsibility – a person’s responsibility to look after everyone in society. Socialism – a political theory that means of production and distribution are owned by the community as a whole.

An Inspector Calls: Knowledge Organiser Plot - set over the course of one night; one story, one place, one time; uses flashbacks Act One:       Act Two     Act Three      

The Birling family celebrate Sheila and Gerald’s engagement The Inspector arrives Mr Birling reveals he fired Eva Smith for going on strike from the factory Sheila reveals she got Eva fired from her job at Milward’s out of jealousy The Inspector reveals Eva changed her name to Daisy Renton Sheila questions Gerald alone Gerald explains how he tried to help Daisy and had an affair with her Mrs Birling pretends not to know who the girl is from the photograph Mrs Birling is forced to reveal the girl went to her for help because she was pregnant, calling herself Mrs Birling. Mrs Birling uses her influence to have the girl’s claim rejected Mrs Birling thinks the father should be dealt with severely; Sheila understands that it is Eric Eric enters and tells his story about Eva Smith Eric discovers his mother didn’t help her and accuses her of causing her death The Inspector leaves Gerald returns and suggests that maybe it was a hoax Mr Birling is convinced everything is fine and phones the police station and then the infirmary – no Inspector Goole and no suicide The police call and say there has been a suicide

Characters The Inspector – arrives in Act One; has a picture of Eva Smith; questions the Birlings and Gerald; is not a real Inspector; voice of Priestley MrThe Birling – upper class of man of the house; factory ‘anmiddle impression massiveness, solidity andowner; successful capitalist - has worked his way up Inspector purposefulness’ p.169; ‘cutting through Mrs Birling – upper class; volunteers for a charity massively’ p.170 Sheila – daughter; 20s; most influenced the Inspector - changes the most To early Mrs Birling: ‘I think you did by something Eric – son; early terribly 20s; likes to drink – irresponsible; steals wrong’ p.198; to the family: ‘but money from his father’s business; sides with Sheilaeach by the end of the play of you helped to kill her. Remember Gerald – about 30; engaged Sheila; class;that more likely to side with Mr and Mrs Birling; that’ p.206; to ‘if men willupper not learn doesn’t accept responsibility lesson, then they will be taught it in fire Eva Smith – lower class working woman;p.207 only ever presented through the voice of the other and blood and anguish’ characters; suicide by drinking disinfectant Mr Birling commits ‘portentous’ p. 161; ‘lower costs and higher prices’ p.164; to Eric: ‘You’ve a lot Themes to learn yet’ ‘a man has to mindwithin his society; Priestley believed social Responsibility – individual andp.166; collective responsibility own business and look after his own’ responsibility – work together not against each other ‘by presents the way some of theseview cranks Gender – start ofp.168; the play stereotypical that women are the weaker sex; power talk and write, you’d think we were all struggle between genders mixed up together like bees in a class hive –divide. Priestley wanted to bridge the Class/power/wealth/status – early 20th century Characters community andclasses; all thatupper nonsense.’ P. owned 168; most of the land and had most of gap between upper and lower classes The Inspector – arrives in Act One; has a picture of Eva Smith; questions the Birlings and ‘rather impatiently’ p.170; ‘I’veworld got to the money. Priestley wanted a fairer socialist rather than a selfish capitalist one; he Gerald; is not a real Inspector; voice ofasPriestley cover this up as soon I can’ p.205; wanted to–expose the immorality of of thethe elite Mr Birling upper middle class man house; factory owner; successful capitalist - has ‘Excitedly...a fake!’ Generations – older generation arep.212 set in their ways; progressive younger generation are able worked his way up Mrs Birling ‘a rather cold woman’ p. 161; ‘I think to Mrschange Birling – upper class; forgoa charity Sheila andvolunteers I had better into the drawing Sheila – daughter; early most by ‘You the Inspector - changes the most room and20s; leave youinfluenced men’ p.165; Eric – son; early seem 20s; likes to drink stealsonmoney from his father’s business; to have made– airresponsible; great impression sides with Sheilathis by the end of the play child, Inspector.’ p.185; to Gerald: ‘I Gerald – about 30; engaged to Sheila; upper class; more likely to side with Mr and Mrs Birling

Context 1912 – play set the night the Titanic sinks; just before WW1; just before strikes 1945 – play written; after WW2; start of welfare state; social equality more of a perceived need Socialism – social responsibility, we should all look after one another and work together for the better Capitalism – Businesses should continue to make money in spite of human cost, we are all responsible only for ourselves Class – upper and lower social classes segregated Age – old vs young; new and old ideas set against each other Attitudes to women – patriarchal society leading to misogyny Audience reactions Post-war audience (contemporary) would have found Birling’s foolish predictions to be ridiculous; Priestley intended to expose upper class ignorance and arrogance. First shown in Russia in 1945; Communist audience might have been sympathetic to Priestley’s message. Shown in USA in 1947; wealthier capitalist audience might have been less sympathetic. The Inspector Mr Birling

Mrs Birling

Sheila

Eric

Gerald

Eva Smith

Stagecraft/Key Devices Lighting - “The lighting should be pink and intimate until the inspector arrives, and then it should be brighter and harder.” P.161 The lighting changes to highlight the Inspector’s impact on the family and to mirror his interrogative manner Dramatic irony – the audience knows that Mr Birling’s many predictions are wrong. Used to highlight ignorance and foolishness of the upper classes in Priestley’s eyes Foreshadowing – hints early in the play that things will go wrong later for the family ‘so long as we behave ourselves, don’t...start a scandal’ p.167 Mr Birling Euphemism – using more mild words or phrase to replace blunt ones (Edwardian customs) ‘a girl of that sort’, ‘women of the town’ p.182 Gerald Imagery – ‘as if we’re all mixed up together like bees in a hive – community and all that nonsense’ p.168 Mr Birling; ‘fire and blood and anguish’ p.207 The Inspector

To Mrs Birling: ‘I think you did something terribly wrong’ p.198; to the family: ‘but each of you helped to kill her. Remember that’ p.206; ‘if men will not learn that lesson, then they will be taught it in fire and blood and anguish’ p.207 ‘lower costs and higher prices’ p.164; to Eric: ‘You’ve a lot to learn yet’ p.166; ‘I speak as a hard-headed business man’ p.166; ‘a man has to mind his own business and look after his own’ p.168; ‘by the way some of these cranks talk and write, you’d think we were all mixed up together like bees in a hive – community and all that nonsense.’ P. 168; ‘ ‘I’ve got to cover this up as soon as I can’ p.205; ‘Excitedly...a fake!’ p.212 ‘I think Sheila and I had better go into the drawing room and leave you men’ p.165; ‘You seem to have made a great impression on this child, Inspector.’ p.185; to Gerald: ‘I don’t think we want any further details of this disgusting affair’ p.192; about Eva Smith’s plea for help: ‘I used my influence to have it refused’ p.197; ‘I’ve done nothing wrong’ p.198; ‘I’m sorry Daddy’ p.165; ‘Oh I wish you hadn’t told me’ p.175; ‘But these girls aren’t cheap labour – they’re people’ p.177; ‘I know I’m to blame’ p.184; ‘it’s you two who are being childish – trying not to face the facts’ p.209; ‘You began to learn something. And now you’ve stopped.’ P.220 ‘Yes, I know – but still –‘ p.166; ‘Why shouldn’t they try for higher wages?’ p.174; ‘I insisted – it seems’ p.203; ‘you’re not the kind of father a chap could go to when he’s in trouble’ p.205; ‘you killed her’ p.206; ‘The money’s not the important thing’ p.214; ‘I agree with Sheila...it frightens me’ p. 220 ‘easy, well-bred man-about-town’ p.161; ‘I was awfully busy at the works’ p.163; ‘You couldn’t have done anything else’ p.173; ‘I don’t come into this suicide business’ p.182; ‘Everything’s alright now, Sheila [Holds up the ring]’ p.220 ‘lonely, half starved, she was feeling desperate’ p.177 The Inspector ‘She’d had a lot to say – far too much – so she had to go’ p.173 Mr Birling ‘she was very pretty and looked as if she could take care of herself’ p.181; ‘I was sorry for her’ p.191; ‘I didn’t feel about her as she felt about me’ p. 192 Gerald ‘I didn’t like her manner’ p.197 Mrs Birling ‘she was pretty and a good sport’ p. 204 Eric

‘an impression of massiveness, solidity and purposefulness’ p.169; ‘cutting through massively’ p.170 ‘portentous’ p. 161; rather impatiently’ p.170

‘a rather cold woman’ p. 161

‘very pleased with life and rather excited’ p.161; ‘cutting in’ p.184, 186

‘not quite at ease, half shy, half assertive’ p.161;‘Eric suddenly guffaws’ p.163;

easy, well-bred man-about-town’ p.161;

Subject: English Year: 10 Term: Spring 1 Topic: An Inspector Calls Topic: Revision Sequence - Context - Themes - Characters - Practise essays Unseen Literature Mocks

Key terminology Protagonist Stage Directions Benefactor Dramatic Irony Humility Stereotype Stave Clerk Pauper Slum Ignorance Corruption

Definition Main character in a work of literature The intentions of the playwright for the performance Person who gives money and/or support to someone else in need When the audience knows what the characters do not Behaving with modesty Widely held but overly simplified view of a particular type of person Title given to chapters to reflect how it is like a song (carol) An administrate assistant in an office Someone who is extremely impoverished (poor) Overcrowded, squalid area where paupers live Lack of knowledge or information Dishonest abuse of power

Redemption

The act of being saved from sin or evil

Injustice

Something that is unfair

TEXCEL

TOPIC-EVIDENCE-EXPLAIN-CONNOTATIONS-EXPLAIN-LINK

Key Themes Wealth /Injustice Redemption Responsibility/blame Class/gender Context Author – J.B Priestley WW1 (play set in 1912) The Common Wealth Party The Titanic Women were subservient to men Strong distinction between classes

, inarticulate

Key Character The Inspector - Symbolises the viewpoint of Priestley; Is a metaphorical vehicle for his views. Arthur Birling - Symbolises the selfish factory owners that subjugate their employees. Sheila Birling - Symbolises the perceptive youth that is able to learn and change.

Adjectives Enigmatic Persistent Moral

Definitions Difficult or impossible to explain. Continuing to do something despite obstacles. Concerned with the principles of right and wrong. Being unassuming about your own importance. Being modest about your own abilities. Someone who is very generous.

Key quotations

“But these girls aren’t cheap labour- they’re people.” "he's giving us the rope - so that we'll hang ourselves"

Awkward Contrite

Showing insight. Showing sympathy and concern for others Understanding of others’ and their own circumstances. Causing uneasy embarrassment. Feels sorry for their previous behaviour.

Eric Birling - An over entitled drunken youth who learns the error of his ways. Mrs Birling – An upper class snob

Snob

Exaggerated respect for people with wealth.

Modest Humble Munificent Perceptive Compassionate Empathetic

“One Eva Smith has gone - but there are millions and millions of Eva Smiths and John Smiths” “if men will not learn that lesson, they will be taught it in fire and blood and anguish” “Unsinkable. Absolutely unsinkable.” “a hard-headed, practical man of business” “a man has to make his own way—has to look after himself”

"Oh - my God! - how stupid it all is!" "I'm ashamed of you." "Why shouldn't they try for higher wages?"

“The Germans don’t want war”

Set in 1912 Britain in fictional industrial town of “Brumley” “There are millions and millions and millions of Eva Smiths and John Smiths”

Context—creates dramatic irony and ridicules the opinions of Arthur Birling.

Context—allows the Inspector (Priestley) to voice concerns of things that still are happening or may happen...

Written by J.B. Priestley—a Socialist who believed in change for the lowerclasses to have a better future and the upperclasses to stop taking a Capitalist hold over money, position and power.

“Titanic...absolutely unsinkable”

*”heavylooking man” *”rather provincial in his speech”

CORUPTION

it in fire and blood and aguish.”

“We are members of one body. We are responsible for each other”

One purpose of the Inspector is to act as Priestley’s voice and pass on his message about Socialism, responsibility and necessary change

“...proof. What proof is there?”

SELFISHNESS “My God! I’ve suddenly realised—taken it in properly— that she’s dead”

The Birlings celebrate the engagement of their daughter Sheila and Gerald Croft.

The younger characters are made to feel guilty and responsible for their actions. They are willing to change and learn their lesson—they are an advocate for change that is needed.

*”early twenties” *”not quite at ease, half shy, half assertive”

“You killed her—and the child she’d have had too—my child.” “We helped to kill her” “I won’t forget.”

GUILT “I suppose we’re all nice people now”

“We really must stop these silly pretences”

*”a pretty girl in her early twenties” *”very pleased with life and rather excited”

“So I’m really to blame?”

“But these girls aren’t cheap labour—they’re people”

Arthur Birling gives a speech about the “nonsense” of community.

“The point is, you don’t seem to have learned anything.”

Firstly he connects Arthur to her revealing he fired her from his factory.

The Inspector arrives and informs them of the tragic suicide of Eva Smith.

our guilt.”

“It’s my duty to ask questions”

lighting

“Pink and intimate” whilst family celebrate

“Brighter and harder “once the Inspector arrives

Setting A large suburban house.

‘solid …but not cosy and homelike’

The older characters are stuck in their capitalist ways consumed with status, reputation, wealth and greed. They do not change or learn their lesson—they are a warning of current ways of living.

*”impression of massiveness, solidity and purposefulness” MORALS *”dressed in a plain “Public men, Mr Birling, dark suit” have responsibilities as *speaking...carefully well as privileges” and weightily” *”disconcerting habit of looking hard at “...we’ll have to share those he addresses”

glasses’, ‘decanter

furniture -

“I speak as a hardheaded business man”

English Literature Exam: 20th May

CHANGE

Stage directions

It’s a play!

Action takes place in one room- it is claustrophobic and intense- the pressure builds within the closed room. Birlings are shown to live in a closed, protected world and the Inspector is not welcomed from the outside.

Techniques Dramatic irony— ridicules Mr Birling Cliff-hangers at the end of each Act

The curtain falls

We hear the “sharp” ring of a front door bell. The telephone rings.

Dramatic tension— creates suspense to keep us intrigued.

Timing of exits and entrances

The stage directions used when the characters are speaking are crucially important in suggesting their tone of voice as well as their emotions and personality. Often they are verbs, adverbs or adjectives. Write about them when you include a quote!

(who is crying quietly) That’s the worst of it.

(half serious, half playful) Yes – except for all last summer, when you never came near me, and I wondered what had happened to you.

The telephone rings to state an inspector is on his way as a young girl has just died in the infirmary.

“Each of you helped to kill her”

RESPONSIBILITY Along with the older Birlings, Gerald suspects that there is no Inspector and they “let themselves off the hook”.

The Inspector leaves the divided family. Gerald returns.

They are all connected by an encounter and misuse of Eva Smith.

Next Sheila had her sacked from Milwards because of her temper and jealousy.

“A chain of events” Finally it is unveiled that Eric Birling had made Eva pregnant and stolen from his father’s works to support her.

It is then revealed Gerald had an affair with her (Daisy Renton).

Mrs Sybil Birling refused her charity despite Eva’s desperate need.

Plot and key events

props – suggests wealth ‘champagne

*”a rather thing tonight.” cold woman” *”her “I did nothing I’m husband’s ashamed of” social superior”

“Girls of that class.”

*”an attractive chap about thirty” *”well-bred young man about town”

Written in 1945 after experience of 2 World Wars and social unrest! “They will be taught

“We are learning some-

7 DEADLY SINS

KS4 Conflict Poetry Knowledge Organiser Summaries:

Context:

Poppies – This poem an alternative interpretation of bravery in conflict: it does not focus on a soldier in battle but on the mother who is left behind and must cope with his death. The narration covers her visit to a war memorial, interspersed with images of the soldier’s childhood and his departure for war. Bayonet Charge - Describes the terrifying experience of ‘going over the top’: fixing bayonets (long knives) to the end of rifles and leaving a trench to charge directly at the enemy. The poem explores how brutal and hopeless war is. Charge of the Light Brigade -Published six weeks after a disastrous battle against the Russians in the (unpopular) Crimean War. It describes a cavalry charge against Russians who shoot at the lightly-armed British with cannon from three sides of a long valley. Of the 600 hundred who started the charge, over half were killed, injured or taken prisoner. Remains - Written to coincide with a TV documentary about those returning from war with PTSD. Based on Guardsman Tromans, who fought in Iraq in 2003. The speaker describes shooting a looter dead in Iraq and how it has affected him. This poem shows the reader that mental suffering can persist long after physical conflict is over. Exposure - Speaker describes war as a battle against the weather and conditions. Imagery of cold and warm reflect the delusional mind of a man dying from hypothermia. Owen wanted to draw attention to the suffering, monotony and futility of war. War Photographer - Tells the story of a war photographer developing photos at home in England: as a photo develops he begins to remember the horrors of war. He appears to be returning to a warzone at the end of the poem. Duffy conveys both the brutality of war and the indifference of those who might view the photos in newspapers and magazines: those who live in comfort and are unaffected by war. Kamikaze - In World War 2, Japanese Kamikaze pilots would fly manned missiles into targets such as ships. -This poem explores a kamikaze pilot’s journey towards battle, his decision to return, and how he is shunned when he returns home.-As he looks down at the sea, the beauty of nature and memories of childhood make him decide to turn back

Poppies – Set around the time of the Iraq and Afghan wars, but the conflict is deliberately ambiguous to give the poem a timeless relevance to all mothers and families. There are hints of a critical tone about how soldiers can become intoxicated by the glamour or the military.

Bayonet Charge - Published in 1957, but most-likely set in World War 1. Hughes’ father had survived the battle of Gallipoli in World War 1, and so he may have wished to draw attention to the hardships of trench warfare. He contrasts the idealism of patriotism and reality of fighting and killing. Charge of the Light Brigade - As Poet Laureate, Tennyson had to inspire the nation and portray the war in a positive light: propaganda. Although Tennyson glorifies the soldiers who took part, he also comments on a commander making a mistake: This was a controversial point to make in Victorian times when blind devotion to power was expected. Remains - “These are poems of survivors – the damaged, exhausted men who return from war in body but never, wholly, in mind.” Simon Armitage. Poem coincided with increased awareness of PTSD amongst the military, and aroused sympathy amongst the public – many of whom were opposed to the war. Exposure - Written in 1917 before Owen went on to win the Military Cross for bravery, and was then killed in battle in 1918: the poem has authenticity as it is written by an actual soldier. Of his work, Owen said: “My theme is war and the pity of war”. Despite highlighting the tragedy of war and mistakes of senior commanders, he had a deep sense of duty: “not loath, we lie out here” shows that he was not bitter about his suffering. War Photographer - Duffy was inspired to write this poem by her friendship with a war photographer. She was intrigued by the challenge faced by these people whose job requires them to record terrible, horrific events without being able to directly help their subjects.-The location is ambiguous and therefore universal. Kamikaze - -Cowardice or surrender was a great shame in wartime Japan. To surrender meant shame for you and your family, and rejection by society.

Key Themes:

Conflict Reality of war Effects of war Nature Bravery Fear Death Patriotism Power

KS4 Conflict Poetry Knowledge Organiser Key Quotes: Poppies

Methods:

‘I pinned one onto you lapel, crimped petals, spasms of paper red’ ‘A split second and you were away’ ‘Hoping to hear your playground voice catching on the wind’

Caesura – full stop in the middle of the line

Sentence Starters:

Key Words:

Both ______ and ______ explore ideas about…

Bayonet Charge ‘Suddenly he awoke and he was running’ ‘His foot hung statuary in mid-stride’ ‘King, honour, human dignity etc. dropped like luxuries in a yelling alarm’

Stanza – section of a poem Speaker - the narrator, or person in the poem. Conflict – a disagreement, usually resulting in violence Power – Force or the ability to influence others Nature – the physical word including plants, landscape etc. Critique – a work that explores and criticises something Patriotism – a love for one’s country Pacifism – opposition to all violence, including war Elegy – an expression of grief Futility - pointlessness Despair – hopelessness Idealised – Represented as better than it is in reality Anti-war – against war Nostalgia – Looking back with fondness

Remains

“Legs it up the road” “Then he's carted off in the back of a lorry” “he’s here in my head when I close my eyes / dug in behind enemy line” “his bloody life in my bloody hands” Exposure “Our brains ache” “the merciless iced east winds that knive us…” ‘mad gusts tugging on the wire’ “But nothing happens” War Photographer “All flesh is grass” “He has a job to do“ “Running children in a nightmare heat” “Blood stained into a foreign dust” Kamikaze “dark shoals of fish flashing silver” - “they treated him as though he no longer existed” “was no longer the father we loved” “He must have wondered which had been the better way to die”

Enjambment – when a line runs on without a full stop

End-stopped line – full stop at the end of a line Rhyme – Words with the same sounds, usually at the end of lines Consonance – repetition of consonant sounds. Alliteration – Words close together that begin with the same sounding letter. Assonance –Repetition of a vowel sound. Sibilance – Repetition of an ‘s’ sound Plosives –p, d, g, or b sounds Allusion – a reference to another work Volta – change in tone Noun – A word for a person, place or thing. Pronoun – A word used when referring to someone or something. Verb – A word used to describe an action, state or occurrence. Adjective – A word to describe a noun. Adverb – A word used to describe a verb. Simile – A phrase comparing one thing to another, using as or like. Metaphor – A phrase comparing one thing to another, by saying it is that thing. Personification – A phrase giving human characteristics to a non-human object. Imagery – Words or phrases that create visual images. Emotive language – Words that create feeling and emotion. Semantic field – A group of words that follow the same theme. Rhetorical question – A question that does not require an answer. Oxymoron – A phrase using contradictory words. Onomatopoeia – Words that create a sound. Symbolism – The representation of ideas in images or motifs. Repetition – A word or phrase that is used more than once. Perspective – A point of view. Text can be written form a first (I), second (you) or third person (he/she/they) perspective. Juxtaposition – Two concepts, themes, ideas or characters that are contrasting or opposite.

In the first poem the poet presents/portrays… Quote (embedded) This suggests to the reader… In particular, the poet’s use of (method) implies/emphasises… The poet is revealing/highlighting (ideas/context) In comparison, in the second poem the poet presents/portrays… Quote (embedded) This suggests to the reader…which is similar/different to… In particular, the poet’s use of (method) implies/emphasises… Therefore, unlike/like the first poet, the is revealing/highlighting (ideas/context)

Language Features Toolkit The following toolkits will help you when revising and answering Question 3. Remember, this is not a feature spotting exercise. You must consider the effect and impact on the reader.

LANGUAGE FEATURES

PURPOSE AND/OR EFFECT

adjectives/adverbs

Builds up a very full picture of the object/animal/person or the activity so that it becomes very clear in the reader’s mind – the reader feels s/he can picture it or see it happening very precisely.

(vivid language) alliteration

Makes the text catchy – quick to read – grabs attention.

anecdote

A short tale or narrative that is used to illustrate a point. It can be fiction or non-fiction.

antithesis

Contrary ideas expressed in a balanced sentence. The juxtaposition emphasizes the contrasting ideas and gives the effect of balance.

connectives

direct speech

emotive language

euphemism

first person pronoun

hyperbole imagery – similes, metaphors

Connectives help create textual cohesion. They may be used to sequence ideas or an argument, link ideas/points or show comparison, show a change in subject matter or tone. Makes the character come alive. We can “hear” the way s/he speaks – the actual vocab, grammar and tones. The attitude and emotions of the author are transferred or made clear to the reader. Use of a less objectionable or harsh expression to avoid upsetting or offending people e.g. The firm was restructuring (sacking workers). Creates amusement in the reader, or reveals the character of the person using it (kindhearted or sarcastic or squeamish, for example) 1st person singular = I, me, my, mine, plural = We, us, our, ours. Gives immediacy to the text – the author or character makes a direct connection with the reader / audience. “We” in a speech involves the audience with the speaker (“We all know that violence is wrong”). Deliberate exaggeration which is used for emphasis. Also illustrates something of the mood of the speaker/writer. All imagery gives the person/animal/thing being described the characteristics of something else. It therefore enlivens descriptions by helping us to see these people/animals/things in a new light – in a way we may have never seen them or thought about them before. Metaphors are more compact and tighter in their comparative description than similes.

irony

Saying the opposite of what you mean transfers the attitude and emotions of the author to the reader.

onomatopoeia

This helps us hear the actual sound being named and therefore we understand it properly or it transports us to the place of the sound.

parallel construction

Parallel construction provides rhythm while it expands the detail of the description and creates balance.

pun

Word play involving the use of a word with two different meanings or two words that sound the same but mean different things. Often used in advertising. Provokes amusement and therefore a tendency for the reader to feel good about the company / product and possibly to buy the product.

quotation

The direct use of another’s words (spoken or written) add some of the authority of the original author to the current speaker/writer.

repetition

Repeating the same or nearly the same words for effect. This is used to emphasise whatever is being said or written.

rhetorical questions

To get the readers’ / audience’s attention and make them think about the answer before giving it.

rule of three

Provides rhythm as well as closure or finality along with that sense of balance.

sarcasm

Unkind humour directed against what the writer / speaker doesn’t like which highlights the attitude and emotions of the author.

second person pronoun

2nd person singular and plural = You, your, yours. Used in speeches and adverts, this direct address to the listeners/viewers involves them and may challenge them to respond, even if only mentally. In narrative, the use shows interaction between characters.

sentences

Varied sentence length and type (simple, compound, complex) adds interest and fluency to a text as well as creating particular effects. Simple sentences are often used as topic sentences to introduce an idea or point. Compound sentences link two main ideas. Complex sentences expand ideas or add information. Short sentences add tension or drive home a point.

slang

statistics

technical words or jargon

Grounds the text in informality as well as a certain social group and period of time. A specific number or statistic gives the impression that the speaker/writer is authoritative and knowledgeable Sometimes, more unusual words provide more specific meaning than common ones. Specialised or technical words make it seem like the writer/speaker really knows the topic.

Presentational Features Toolkit PRESENTATIONAL FEATURE bullet points captions

PURPOSE AND EFFECT ON THE READER Good way to organise a text – easier to identify different pieces of information Can help readers understand a picture

colour

There are lots of connections and links – colours reinforce messages – blue= crisp/ cold/ clean. Red= passionate/ sex/ love/ dangerous/ blood

columns

A way of organising text – they help to make the text clearer to the reader

fonts

graphs/diagrams headings

Classic/ formal/ old-fashioned/ modern etc – fonts are chosen to impact on different audiences - and to grab attention Help make difficult information easier to grasp Important as a way of organising the text

Italics

These emphasise information – alert the reader to its importance

logos

Symbols of a company – represent things

maps

Helpful in giving people information – finding or showing a place

paragraphs

Organising text – comment if they are small – short/ easier to read or longer and more detailed – this makes a difference to a text and to the reader – connects with AUDIENCE

pictures/ images

Bring the text to life and grab attention – they can also break up the text, which is useful and makes it more accessible to read. They often illustrate the point of the text.

subheadings underlining

Provides more information, develops what is suggested in the heading Emphasises or highlights points made

Sentence Types Sentence Type

Simple Sentence

Compound Sentence

Complex Sentence

Minor Sentence

How can it be identified Simple sentence = subject + verb  It communicates one piece of information.  It is a complete thought.  It contains no conjunctions. Compound sentence = main clause + coordinating conjunction + main clause  Co-ordinating conjunctions (FANBOYS) For And Nor But Or Yet So Complex sentence = main clause + subordinate clause Contains subordinating conjunction such as the following: After/Although/As/ As soon as/As long as Because/Before Even if/Even though If /In order that Since/Though Unless/Until When/Whenever/Where/Wherever/While It is not a complete sentence. It may be a single word or a short phrase that can still be understood.

Examples 1. The small, skinny boy walked a large ferocious dog. 2. The plane soared through the sky. 1. The dog growled and the cat hissed.

 

Function Makes a piece of information clear. A well placed simple sentence can really stand out and highlight a point.



Links multiple pieces of information together.



Can sound boring and repetitive if used too often but good for getting across factual information.

1. He ate a Snickers although he was allergic to nuts.



A way of linking ideas and showing a relationship between them.

2. Although he was allergic to nuts, he ate a Snickers.



Makes writing flow nicely.



There is variation within complex sentences so they can make our writing sound interesting and therefore more engaging

1. 2. 3. 4.



Can make a thought or feeling really stand out and have a strong impact.



Do not use these too often as the more you used them the less effective they become.

2. Joe was nervous yet he marched onto the stage. 3. He laughed loudly and he did not understand the joke.

Crash! Coffee? What? Help!

Writing Skills Punctuation Punctuation Full stops

What is its job?

Examples

To separate sentences.

Colin thought long and hard. He had a tough journey and needed to prepare.

Used to separate a list To separate a phrase that adds extra information or detail.

He planned to pack a wash bag, his clothes, a medical kit and his hunting knife. After he packed his bag, he waved his parents goodbye. You’re = You are That’s = That is Greg’s shoes = shoes that belong to Greg Alice’s feelings = feelings belonging to Alice What fools people can be! Help! Crash!

. Comma , Apostrophe ‘ Exclamation mark ! Question mark ? Speech marks “ ”

Semi colon ; Ellipsis …

Colon : Brackets ( )

To show that something belongs to something else. or To indicate that there are letters missing in a word. To show strong feeling; it goes at the end of a sentence or phrase. Don’t overuse them! To show that the sentence is a direct question.

How are you? Is this the correct answer?

To indicate when somebody is talking.  Punctuation at the end of speech is placed before the final speech mark  There should be only one speaker for each paragraph

“What are you doing?” Joe asked. He replied, “Just dancing.”

To join two sentences that are closely related. Often used instead of a subordinating conjunction (FANBOYS), particularly ‘and.’

I walked my dog; we went to the park. I won the lottery; the drinks are on me.

When you are deliberately missing out information. Used to create an idea that a situation will continue forever e.g. It seems that tis cycle of bullying will continue forever… or to allow the reader to decide what might fill the space

I slowly opened the door and suddenly …

To indicate that a list is going to follow. Or to join a main clause with another clause in a similar way to a semi colon but instead of replacing a word such as ‘and’ , it replaces a word such as ‘because’ or ‘therefore.’ There must be a complex sentence before the clause. To interrupt a sentence with an aside comment.

We found lots of treasures in the attic: a gold watch, shares in an oil company and old photographs. Carl was jealous: Lenny knew all the answers. Joe (rather rudely) barged into the room. I love toast in the morning (wholemeal, crispy, melted butter).

Persuasive Writing Toolkit DAFOREST Direct Address Alliteration Facts Opinion Repetition/rhetorical questions Emotive language Statistics Triples (rule of three)

Persuasive Techniques Match the technique to the example:

Technique

Example

Alliteration

A fox is a living creature

Fact

90% of animals

Opinion

The weak and defenceless fox

Rhetorical question

People should be more careful

Emotive language

So why donâ&#x20AC;&#x2122;t people stop hunting?

Statistics

cold, tired and hungry

Triplets

I believe hunting is a good thing

Metaphor

The bright and blazing sun

Command/imperative

We donâ&#x20AC;&#x2122;t have to put up with it

Modal verb

Think about this idea

Personal pronouns

An army of hunting dogs

EIGHT PARTS OF SPEECH 1. 2. 3. 4. 5. 6. 7. 8.

NOUNS PRONOUNS ADJECTIVES VERBS ADVERBS PREPOSITIONS CONJUNCTIONS INTERJECTIONS

1. NOUNS can be the name of a person, place or thing

Examples

COMMON

General name of a person, place or thing.

book, dog, boy, house, mother apple, pen, father, cat, fox, girl

PROPER

Name of a par cular person, place or thing and always begins with a capital le er.

London, Margaret, Ethan, Sheila England, Red Cross, Parliament

COLLECTIVE

Word used to refer to a group of persons or things.

team, family, ﬂock, crowd, nest class, army, cluster, choir, pack

ABSTRACT

Name of things that cannot be touched: such as ideas, feelings, and emo ons.

wisdom, health, joy, height, air, fog knowledge, truth, fear, pain, sense

GENDER refers to whether a noun is masculine, feminine, common or neuter

DEFINITIONS Le ers: 5 vowels – 21 consonants of the alphabet. Vowels: a, e, i, o, u. Consonants: b, c, d, f, g, h, j, k, l, m, n, p, q, r, s, t, v, w, x, y, z. Word: A spoken or wri en part of a language Ethan, book, girl, boy, cricket, pets, donkeys, child. Phrase: A group of two or more words which usually do not contain a ﬁnite verb and which can act as a noun, verb, adverb, adjec ve or preposi on. The girl with the pearl earring. (preposi onal phrase) Clause: A group of words or phrases containing a ﬁnite verb. There are two types of clauses: Main clause and Subordinate clause We le because it was late. Main clause: We le Subordinate clause: because it was late. The subordinate clause is an adverbial reason clause Sentence: A group of words expressing a complete meaning. A sentence can express a statement, ask a ques on or issue a command. A sentence can also be exclamatory – expressing a strong emo on. Bella went swimming. [statement] Where did Bella go? [ques on] Don’t go swimming Bella. [command] Watch out Bella, it’s behind you! [exclamatory] Paragraph: A sentence or a set of sentences forming a unity of text and meaning.

Masculine: boy, man, father, husband Common: pupil, baby, friend, teacher

Feminine: girl, mother, wife, nun, bride, sister, aunt, nanny Neuter: tree, house, car, book, computer, ﬂower, mountain

FORMING THE POSSESSIVE CASE OF NOUNS Singular The girl’s hat, the horse’s shoe, our country’s ﬂag, my mother’s wig, one’s rights, someone else’s job. Plural Two girls’ hats, horses’ shoes, readers’ le ers, women’s rights, children’s clothing, men’s toys. Note Charles’s wife, Burns’s poems, Lewis’s books, Jones’s house, Dickens’s novels, but Jesus’ parables. Its The house lost its roof in the storm. The cat injured its paw. The dog chased its tail. No apostrophe! Note It’s (it is) all for you. It’s (it has) been a pleasure to work with you, Mr Scrooge. It’s (it is) show me!

2. PRONOUNS are used in place of nouns

Examples

PERSONAL

Used in place of persons or things in a sentence

I, you, he, she, it, we, you, they

POSSESSIVE DEMONSTRATIVE

Used to show possession or ownership of a noun in a sentence Point out which nouns are meant in a sentence

INTERROGATIVE

Used for asking ques ons in a sentence

RELATIVE

Relate to a previous noun and join clauses together in a sentence Refers to the subject of a sentence

This bed over here is mine. That bed over there is yours. That is the dress my mother likes. I bought those [grapes] yesterday. Who ordered all this sta onery? What did you buy today, darling? I am the man who laughed at him. The dress that I bought is so chic. I cut myself shaving today. She blamed herself for the loss.

REFLEXIVE

PERSONAL PRONOUNS Person 1st Person

Singular I

Object me

Plural we

Object us

2nd Person

you

3rd Person

he/she/it

him/her/it

they

them

ARTICLES — DETERMINERS 3. ADJECTIVES are words used to describe nouns ‘The’ is a Definite Ar cle or Determiner and used before a specific or definite object--person or thing. the film, the boy, the house, the girls, the eggs. ‘The’ can be used with all kinds of nouns: countable and uncountable. The men. The evidence. An’ and ‘a’ are Indefinite Ar cles or Determiners used to refer to any one kind of person or thing. a cat, a hotel, a holiday, an egg, an idea, an expert. ‘A’ and ‘an’ can only be used with singular countable nouns. Note a before consonants and an before vowels. Use an before words with silent h an hour, an heir, an honour, an honest man. Examples An eel, the cat, a pen (Singular, countable) The cows, the eggs (Plural, countable) The fog, the music (Uncountable noun) Note a heroic age, a hypothesis, an heir’s ear

ENGLISH GRAMMAR CARD Dedicated to Tony Donovan (1930-1999)

DESCRIPTIVE DEMONSTRATIVE DISTRIBUTIVE INTERROGATIVE NUMERAL PROPER POSSESSIVE QUANTITATIVE

Examples

Describe people and things Point out nouns in a sentence Separate nouns in a group Ask ques ons about nouns Give a count of nouns Adjec val form of a proper noun Show ownership of nouns Describe how much or how many

A happy baby, a blue dress This boy, that girl, those grapes Every pupil, each child Which pupil? What colour? Six boys, three pupils, two pens English language, French wine My book, his pen, its tail, her son Some boys, a few girls, less rain

COMPARISON OF ADJECTIVES Posi ve (1 only) old

Compara ve (1 out of 2) older - My sister is older than my dog.

Superla ve (more than 2) oldest [in the family]

good comfortable

be er - My sister is good, but I’m be er. more comfortable

best [and my mother is the best] most comfortable [of the lot]

6. PREPOSITIONS show a rela onship between a noun or a pronoun and the rest of a sentence Preposi ons are said to ‘govern’ the nouns or pronouns that follow them. Examples: above, against, below, by, between, into, in, near, on, over, under. Jamilah’s book is under the table. The preposi on under governs the noun table.

Janelle threw her toy into the river. The preposi on into governs the noun river.

Ethan pushed against the door un l it opened. The preposi on against governs the noun door.

Susana lived above the expensive ﬂower shop. The preposi on above governs the noun shop.

4. VERBS express an ac on, state or a condi on in a sentence

SENTENCE STRUCTURE

Finite verb is one that can be used with a subject to make a tense. I walked to school yesterday. We watched the cricket match together.

Every sentence contains two basic parts: Subject and Predicate. The subject is the person who performs the ac on. The subject can also be a thing. The predicate describes the ac on by the subject, denoted by the eﬀect of the verb. The boys played football a er school. Subject: The boys Predicate: played football a er school

Non-finite verb cannot be used with a subject to make a verb tense Kni ng is very relaxing. Swimming keeps you fit. (Gerund) Infini ve is the ‘to’ form of a verb and is a special form of the non-finite verb. to sing, to dance, to run, to walk, to swim, to write.

Types of Sentences: 1. Simple 2. Compound 3. Complex

Transi ve verb is one that can have an object. The ac on of the verb is passed on to a person or thing — a direct object. The boy kicked the ball. He broke the camera. Transi ve verbs: kicked and broke Objects: ball and camera

1. Simple Sentences can be a statement, a ques on, a command or an exclama on. Statement: I like that dog. Ques on: Can you tell me if that dog is trained? Command: Be careful with that dog. Exclama on: Run, he’s behind you!

Intransi ve verb does not pass the ac on of the verb on to a person or thing. His wife just looked and smiled. People laughed. Jesus wept. Note the verb ‘to lay’ is always transi ve. It means to place or put something somewhere, and, being transi ve, it always takes an object. My chicken lays two eggs every day. I laid my cards on the table. The verb ‘to lie’ is always intransi ve. It means to be at rest—no ac on. I lie down to rest in my hammock a er lunch. My beau cian lies with such sincerity. (She does not tell the truth!)

2. Compound Sentences consist of two or more simple sentences joined together by a co-ordina ng conjunc on. My friend, Janelle, visited me today and we went shopping. 3. Complex Sentences contain one main clause and one or more subordinate clause. The boy who had the accident went to hospital. Main clause: The boy went to hospital. Subordinate clause: who had the accident 7. CONJUNCTIONS join words, phrases and sentences together

Ac ve Voice is when the subject of the verb does the ac on. The children broke the door. Mark kicked the ball. Passive Voice is when the subject is aﬀected by the ac on. The door was broken by the children. The ball was kicked by Mark. Par ciples are forms of the verb ending in –ing for the present par ciple and –ed for past par ciple. Par ciples can be used as adjec ves in a sentence. I am washing my dog. The word washing is used as a verb. My mother bought a new washing machine. The word washing is used here as a descrip ve adjec ve. Gerunds are also known as verbal nouns and, like par ciples, are formed by adding –ing to the verb. Gerunds can then act as subjects or objects. I love walking. My grandmother enjoys singing. I loathe smoking.

There are two kinds of Conjunc ons: Co-ordina ng and Subordina ng Co-ordina ng: and, but, or, for, yet My father and I went ﬁshing. Subordina ng: as, because, if, since We le because it was too late. Present/Past tense of the verbs to lay (to place or put down) and to lie (to be at rest) Present tense I lay you lay he lays we lay

Past I you she we

tense laid laid laid laid

Present I you he we

tense lie lie lies lie

Past I you she we

tense lay lay lay lay

8. INTERJECTIONS are words used to express surprise, delight and other emo ons Auxiliary Verbs – can, could, do, may, might, ought, used to. Examples: Help! Hello! Cheers! Rubbish! Bravo! Well done! Encore! Oh! Goal! Yikes! Examples:

Can I take your dog, Toto, for a walk to the park? Susana could sing as well as dance. Do you know the Eight Parts of Speech, my dear? May I have the pleasure of dancing with you? I might go to the party with Hannah. Michael ought to look for another job in the hospital. I used to design pencil sharpeners before I became famous.

PUNCTUATION Full Stop ( . ) or period indicates the end of a complete sentence and is also used a er abbrevia ons (e.g. for example i.e. in other words etc. and so forth). I am loath to paint. Flinty McQwerty is such a cad. He arrived at 4 p.m. for lunch. Colon ( : ) is used to introduce a list, explain a previous clause or introduce a quota on. You will require the following tools: a spoke shave, a bradawl and a plumb bob.

5. ADVERBS qualify or modify verbs, adjec ves or other adverbs Adverb modifying a verb Tony jumped quickly over the fence when he saw the bull charging. The adverb quickly modifies the verb jumped. Adverb modifying an adjec ve Shanika is a very clever girl and strives to excel in all she does. The adverb very modifies the adjec ve clever. Adverb modifying another adverb Rachel danced extremely well, despite her crab-footed partner. The adverb extremely modifies the adverb well. KINDS OF ADVERBS TIME The children departed for Spain yesterday. PLACE They put the anvil here for you, darling. MANNER Simon spoke cheerfully about his new school. DEGREE My teacher, Miss Perkins, was rather pleased with me. REASON Why did the princesses annoy that spider, Daddy? CONDITION I will leave, if you buy drinks for the Joneses. CONCESSION Though John is late, I will con nue to wait for him. FREQUENCY I always send flowers to my mother for her birthday.

COMPARISON OF ADVERBS Posi ve hard quickly badly

Compara ve harder more quickly worse

Superla ve hardest most quickly worst

Semicolon ( ; ) is used to join independent parts (clauses) of a sentence. It can also introduce a list of items. Use a comma to separate short clauses. Dogs run, cats stroll. Valerie did not speak; she just glared at Brendan. I love cricket; my sister hates it. Comma ( , ) is used to separate or enclose parts of a sentence. It can also be used to write a list of items. Note the non-defining clauses enclosed with commas in the sentence below. My sister, who loves donkeys, got married today. Flinty was born, so he claims, at sea. Ryan’s house is painted red, white, and blue. My Mum loves snook, snuff and snugs. Ques on mark ( ? ) is used for all direct ques ons. How much did you pay for that donkey? How can you tell a dog’s age, Mummy? There is no ques on mark in reported or indirect ques ons. I wonder how much Sean paid for that donkey. I o en think what might have been. Exclama on mark ( ! ) can be used to express a strong emo on or a sharp comment. Fire! Stop! Wait! Help! You idiot! Yes! No! Look out! Yikes! Here we go! Jump! Get out! Quota on marks ( “ ”) or inverted commas indicate words spoken in the text. “It’s not serious,” she said, “but he’ll never walk again.” I sighed, “Do you mind?” “We all make mistakes,” father said, “but you seem to specialise in them!” “There’s a place called ‘Stop’,” the judge told Flinty, “and you’re going there for two years.” Apostrophe ( ’ ) is used to show possession or ownership of nouns and contracted words. Jamilah’s birthday. Thomas’s bicycle. The doctor’s surgery. The doctors’ surgeries. [plural] The apostrophe can also indicate an omi ed le er in a word, when that word is contracted. I don’t know him. It’s [it is] very hot today. Sorry to hear you’re leaving. Here’s Johnny! Parentheses ( ) can be used to mark out a comment or explana on from the rest of the text. I tried to daydream (as you do), but my mind kept wandering. My sister’s autobiography (listed as fic on), is a bestseller in the bookshops!

EIGHT PARTS OF SPEECH 1. 2. 3. 4. 5. 6. 7. 8.

NOUNS PRONOUNS ADJECTIVES VERBS ADVERBS PREPOSITIONS CONJUNCTIONS INTERJECTIONS

1. NOUNS can be the name of a person, place or thing

Examples

COMMON

General name of a person, place or thing.

book, dog, boy, house, mother apple, pen, father, cat, fox, girl

PROPER

Name of a par cular person, place or thing and always begins with a capital le er.

London, Margaret, Ethan, Sheila England, Red Cross, Parliament

COLLECTIVE

Word used to refer to a group of persons or things.

team, family, ﬂock, crowd, nest class, army, cluster, choir, pack

ABSTRACT

Name of things that cannot be touched: such as ideas, feelings, and emo ons.

wisdom, health, joy, height, air, fog knowledge, truth, fear, pain, sense

GENDER refers to whether a noun is masculine, feminine, common or neuter

Masculine: boy, man, father, husband Common: pupil, baby, friend, teacher

Feminine: girl, mother, wife, nun, bride, sister, aunt, nanny Neuter: tree, house, car, book, computer, ﬂower, mountain

2. PRONOUNS are used in place of nouns

Examples

PERSONAL

Used in place of persons or things in a sentence

I, you, he, she, it, we, you, they

POSSESSIVE DEMONSTRATIVE

Used to show possession or ownership of a noun in a sentence Point out which nouns are meant in a sentence

INTERROGATIVE

Used for asking ques ons in a sentence

RELATIVE

Relate to a previous noun and join clauses together in a sentence Refers to the subject of a sentence

REFLEXIVE

PERSONAL PRONOUNS Person 1st Person

Singular I

Object me

Plural we

Object us

2nd Person

you

3rd Person

he/she/it

him/her/it

they

them

ENGLISH GRAMMAR CARD Dedicated to Tony Donovan (1930-1999)

DESCRIPTIVE DEMONSTRATIVE DISTRIBUTIVE INTERROGATIVE NUMERAL PROPER POSSESSIVE QUANTITATIVE

Examples

COMPARISON OF ADJECTIVES Posi ve (1 only) old

Compara ve (1 out of 2) older - My sister is older than my dog.

Superla ve (more than 2) oldest [in the family]

good comfortable

be er - My sister is good, but I’m be er. more comfortable

best [and my mother is the best] most comfortable [of the lot]

Janelle threw her toy into the river. The preposi on into governs the noun river.

Ethan pushed against the door un l it opened. The preposi on against governs the noun door.

Susana lived above the expensive ﬂower shop. The preposi on above governs the noun shop.

4. VERBS express an ac on, state or a condi on in a sentence

SENTENCE STRUCTURE

Finite verb is one that can be used with a subject to make a tense. I walked to school yesterday. We watched the cricket match together.

Types of Sentences: 1. Simple 2. Compound 3. Complex

Past I you she we

tense laid laid laid laid

Present I you he we

tense lie lie lies lie

Past I you she we

tense lay lay lay lay

COMPARISON OF ADVERBS Posi ve hard quickly badly

Compara ve harder more quickly worse

Superla ve hardest most quickly worst

Great Expectations: Knowledge Organiser Plot Ch. 1-6

Volume 1

Ch. 7-13

Ch. 14-19

Volume 2

Ch. 20-26

Ch. 27-33

Ch. 34-39

Ch. 40-44

Volume 3

Ch. 45-50

Ch. 51-59

Christmas Eve, afternoon: Pip meets the convict (Abel Magwitch); Pip asked to steal file and "wittles" for them. Joe and Mrs. Joe introduced; guns signal escaped convicts; Pip steals food and suffers from “wild fancies” in his guilt. The soldiers; Magwitch and Compeyson; Magwitch "confesses" to Pip's crime. Pip's guilt; Pumblechook describes Magwitch's "theft". The reader is introduced to Pip's limited education (from Biddy). This is compared with Joe's lack of learning. Miss Havisham wants Pip to visit; Pip sees Estella, Miss Havisham at Satis House: the gothic conventions are prevalent throughout Chapter 8. Estella seen as "a star” is Pip’s eyes and she derides him as he "calls knaves, Jacks" demonstrating his poor breeding. Pip lies about Satis House and what he sees. Pumblechook pretends to know; Pip tells Joe the truth. Joe Gargey goes to Satis House and is given twenty-fie guineas for Pip’s time, he is now bound into an apprenticeship with Joe which he feels sullen about. Mrs. Joe feels slighted not to see Miss Havisham Retrospective narrative reflection on Pip's shame and ingratitude – juxtaposed with this, Joe's virtues are described. The half-holiday: Joe fights Dolge Orlick and Mrs. Joe is assaulted. Biddy moves in to look after Mrs Joe. Jaggers tells Pip of his "great expectations" and secrecy of benefactor. Pip undergoes transition point in Chapter 19 as he visits Mr Trabb’s shop and apparently without “boasting” flaunts his new wealth. Pip lodges with Herbert. Wemmick takes Pip to Barnard's Inn; Pip recognizes Herbert as "pale young gentleman". Herbert tells Miss Havisham's story. Pip takes up rowing and living the life of a ‘gentleman’ as he spends his fortune. Mr Jaggers flaunts his housekeeper, Molly’s wrists in a scene of social power and male dominance. Pip is yet to realise Molly is Estella’s mother. Biddy writes to Pip asking if Joe can visit Barnard's Inn; he calls Pip "Sir" highlighting Joe's "simple dignity" that does not fit with the figure of the ‘gentleman’. Pip reads in local paper that Pumblechook is his "patron". Pip visits Miss Havisham; Orlick is gatekeeper. Pip declares his love for Estella. Pip waits for Estella who is visiting London. Wemmick shows him Newgate (convict motif). Pip and Herbert accumulate rather large debts and Mrs. Joe dies. Pip comes of age (November) and becomes responsible for his finances; asks Wemmick's advice for Herbert. Pip is to escort Estella and take her to Satis House; quarrels with Miss Havisham and discovers Bentley Drummle as Estella’s suitor. He leaves heartbroken. Pip is 23 now and Magwitch returns - revealing he is Pip's benefactor. The man on the stairs, "Provis" comes to stay; Jaggers confirms his story as Pip’s benefactor. Herbert then meets Magwitch/”Provis”. Herbert advises Pip to take Magwitch out of the country; they ask him about his life. Pip tells Estella he loves her but Estella is set to marry Bentley Drummle. Pip feels he is being watched…He fears Estella is married but will not make sure. Pip dines with Jaggers; Estella is married. Pip recognizes Molly as her mother and Wemmick tells of Molly's trial. Chapter 49 sees Miss Havisham's confession and repentance; Estella's adoption and the fire. Pip says "I forgive her". Herbert tells of Magwitch's child and Pip knows Estella is his. Magwitch said that Pip reminded him of her. Jaggers explains Estella's adoption and advises that Pip keep it secret. Orlick's confession and attempted revenge; Pip rescued by Trabb's boy and Herbert. Magwitch's escape is thwarted; Compeyson drowned and Pip reconciled to his benefactor, Magwitch. Pip's wealth is forfeited to the crown. Magwitch convicted and sentenced; Pip tells him, before his death, of Estella. Pip becomes ill and is arrested for debts but rescued by Joe. Orlick ends up in jail. Miss Havisham's will is read and Pip plans to propose to Biddy. Satis House goes up for auction and Joe marries Biddy. Eleven years later, Pip returns; sees young Pip and meets (widowed) Estella at Satis; "no shadow of…parting".

Themes Ambition & Self Improvement Social Class Crime & Guilt Innocence & Justice Familial Connections Revenge Redemption Avarice Setting

Vocabulary Faded Opulence Dilapidated Hereditary Privilege Superior Ostracised Genteel

Characters Pip Pirrip Felicitous, Timid, Susceptible, Bourgeois, Improvident, The Fortunatus Prototype The Bildungsroman's protagonist, Pip is an orphan serves as the apprentice of the gentle blacksmith Joe. When he unexpectedly comes into a fortune, Pip grows haughty and extravagant in pursuit of a lifestyle genteel enough to meet the refined standards of Estella. Confusing personal integrity with public reputation, Pip is cruelly disloyal to Joe and Biddy, avoiding them because of their lower class. Still, Pip learns to judge people by internal rather than superficial standards and redeems himself by repenting sincerely and reforming his personal values. Estella Morally Bankrupt, Haughty, Vainglorious, Contemptuous, Disparaging, Insolent The adopted daughter of Miss Havisham, Estella is proud, refined, beautiful, and cold, raised by Miss Havisham to “wreak revenge on the male sex”. Miss Havisham has raised her to lack a true human heart and she is unable to love.

Reticent Prosperous Corrupt Woebegone Incongruous Paradoxical Pathetic Fallacy Impudent Venerate Disparity Remuneration Episodic Ostentatious Propitiation Benefactor Prolix Revenant Malignant Portentous Clemency

Joe Gargery Virtuous, Recitude, Magnanimous, Doleful, Obsequious, Uncouth Joe is a father figure for Pip throughout Pip's childhood and his tender kindness protects Pip from Mrs. Joe's harsh parenting. Joe has no formal education but possesses a deep sense of integrity and an unfailing moral compass. Joe is loyal, generous, and kind, and acts lovingly towards Pip even when Pip's is ungrateful. Provis (a.k.a. Abel Magwitch) (a.k.a. the convict) The same escaped convict Pip helps in the novel's opening scenes. Provis' gratitude towards Pip inspires him to devote his life-savings to Pip, becoming Pip's anonymous patron. Cruelly swindled by Compeyson, Provis has lived a life in and out of prison. Still, his criminal record is largely the result of unfortunate circumstances, not character, for Provis is kind, good-hearted, and immensely generous. Bentley Drummle Machiavellian Prince, Guarded Bentley Drummle studies with Pip. He is a wealthy heir to a baronetcy, upper class according to the old system of inherited rank. Described as "idle, proud…and suspicious," Drummle is Pip's nemesis. He pursues Estella.

Miss Havisham Decrepit, Megalomaniac, Spectral, Affluent, Desolate, Disconsolate, Wretched, Evasive, Tacit The wealthy daughter of a brewer, Miss Havisham was abandoned on her wedding day by her fiancée (Compeyson) and, traumatized. She preserves herself and her house in wedding regalia, shutting out the world for over twenty years. To exact her revenge on men, Miss Havisham adopts and raises Estella to be beautiful and desirable but completely heartless. Miss Havisham is capricious, manipulative, bitter, and, until novel's end, unable to recognize anyone's pain but her own. Biddy An orphan Pip meets at the village school, Biddy moves into the forge to help out after Mrs. Joe's attack and later becomes a schoolteacher. She is humble, kind, moral, and fiercely intelligent, absorbing knowledge without any formal education. She is also sharply perceptive and sees through everyone's pretensions, calling Pip out on his delusions and snobbery long before Pip can recognize them. Mrs Joe “Capricious”, Tyrannical, Condensing, Choleric Mrs. Joe is fiery, tyrannical, and false, harping on her own victimhood even as she abuses Pip and Joe. She is obsessed with social status and reputation. Yet, after the attack by Orlick that gives her brain damage, Mrs. Joe's personality changes completely and she becomes patient, compassionate, and docile. Mr Jaggers Supercilious, Judicious, Erudite, Retributive, Sagacious, Obdurate A famous lawyer in London, Mr. Jaggers is Pip's guardian and the middleman between him and his patron. Mr. Jaggers also works for Miss Havisham. He is rational, sharp-minded, and intimidating. He prides himself on neither expressing nor responding to human emotion. Herbert Pocket Loyal, Aspirational, Invariable, Enduring, Pip's best friend, Herbert is compassionate, honest, and unpretentious. He and Pip live together in London where he works in a counting house as a merchant. He cheerfully helps Pip through all of Pip's struggles.

Introduction to Poetry Knowledge Organiser Poetic Forms: Ballad Story poems– often 4 lines stanzas Blank verse Verse with no rhyme – usually 10 syllables Epic Tragic/heroic story poems Free verse No regular rhyme/rhythm Haiku 3 lines, syllables 5/7/5. Often about nature Ode Lyrical poem often addressed to one person Sonnet 14 lines (often) love poem Shape poem Poem is in shape of the main subject 10 Influential Poets: William An English Romantic poet. Wordsworth His most famous poem is called ‘Daffodils’. William In his lifetime he wrote over Shakespeare 150 poems. Shakespearean sonnets are still studied a lot today. Emily An American poet who Dickinson lived most of her life in isolation. Maya A civil rights activist and Angelou poet whose most famous poem is ‘Still I Rise’ Rudyard Author of ‘The Jungle Kipling Book’. His most famous poem is ‘If’. Tupac An American rapper, poet Shakur and actor. He was famously assassinated in his youth. Carol Ann She is the current poet Duffy laureate in the UK. Ted Hughes Considered one of the greatest writers and poets of the 20th century. Sylvia Plath American poet. She was married to Ted Hughes. Wilfred One of the most famous Owen poets from World War 1.

Poetic Terms: When words placed together start with the same sound. “She sells sea shells on the sea shore” Metaphor When you say something is something else but you know it can’t be. “She is a star!” Simile When you compare two things using ‘as’ or ‘like’. “As brave as a lion” Oxymoron When two words are placed together with opposite meanings. “Cruel kindness” or “silent scream” Onomatopoeia Words that sound like what they are. “Meow” or “crash” Assonance The repetition of a vowel sound “Go slow over the road” Emotive Language used to create a particular emotion in the reader Figurative Using figures of speech Language such as similes and metaphors Personification When you give inanimate object human qualities. “The alarm clock screamed” AutoAbout the poet biographical Lyrical Emotional and beautiful Sibilance A repeated ‘s’, ‘sh’ or ‘z’ sound. Phonetic Written like it sounds spelling Rhetorical A question asked to question persuade the reader or to make them think Alliteration

“If you can meet with triumph and disaster and treat those two imposters just the same” -Rudyard Kipling

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Language Paper 1 Knowledge Organiser: everything you need to know! (80 marks & 50% of your English Language GCSE) Question [marks] Timing

How do I structure my response?

What key things must I remember?

Section A – READING 40 marks (50% of Language Paper 1 – 1 hour: 15 minutes reading and 45 minutes writing) One idea per line 1. List four things… [4 marks]

5 minutes

2. How does the writer use language to… [8 marks] 10 minutes   

Words & phrases Language features and techniques Sentence forms

3. How does the writer use structure to interest you as a reader? [8 marks] 10 minutes

4. To what extent do you agree with… [statement] [20 marks] 20 minutes

4 different ideas (don’t repeat your yourself) A sentence or two to sum up the MAIN IDEA / EFFECT about what the question is asking (remember all points will link back to this). Aim for… Paragraph one: words & phrases Paragraph two: language features & techniques Paragraph three: sentence forms Zoom in on words Use PEED (or SQuID) P – Point or statement, with technical terminology. Don’t stop at one idea E – Evidence (try embedding into Point) Say a lot about a little E – Explain what your evidence means. What is the effect? D – Develop/Deepen your ideas and link back to the question.

Make sure each idea links backs to what the question has asked. Check you are looking in the right part of the text (hint: highlight a box around it) How does the word/phrase/feature/technique Technical terminology: make me FEEL, IMAGINE or THINK? Words: adjectives, adverbs, verbs, ‘the phrase’ Key expressions to remember: Features & techniques: metaphor, The writer uses a … to… simile, personification The (technical terminology) could suggest/ +1: alliteration (name the different reinforce/ imply/ reveal… types? Plosive, fricative, dental) This is reinforced through the (tech terminology).. This creates the effect of / that…

Sentence forms: short, long, exclamation, command, question (interrogative), statement

A sentence or two to sum up the MAIN IDEA / EFFECT about what the question is asking (remember all points will link back to this). Aim for… Paragraph one: the beginning (At first, In the beginning, In the first paragraph, The extract begins) Paragraph two: the shift (Next, Then, A change in…) Paragraph three: the end (Finally, Then, In the end…) What is the impact of each Use PEED (or SQuID) structural choice? P – Point or statement, with technical terminology. E – Evidence or reference to a point in the text How does it make the E – Explain what your evidence means. What is the EFFECT? writing interesting? D – Develop/Deepen your ideas and link back to the question.

Remember: mood, viewpoint, chronology, tense

Start with a sentence that states your shade of agreeing (all points will link back to this). I completely agree/I agree to a large extent/I agree/I partially agree that ... presents...

Remember: present evidence that proves the statement to be true. (You must agree!)

SQuID Statement and embedded Quote I agree that the writer creates this effect because… Inference This reveals/indicates/shows/proves/conveys… Develop your critical argument (with multiple interpretations) This suggests/depicts/portrays to me that... However/alternatively, another reader may think...

In each paragraph you are proving your interpretation through critical analysis.

Think: what happens, what’s the tense, what’s the narrative and chronology: Key expressions to remember: This changes to… The writer shifts the focus to… The writer zooms in on a description of … The writer zooms out to a description of… This interests the reader because…

Technical Terminology: Shifts focus/ topic Links across, links to Introduces … Reveals Sequence of events Narrative focus or perspective Tense (past, etc.) Flashback Chronological What is the effect? Mood of.. , suspense, mystery, tension, intrigue, a cliffhanger

Evaluative sentence starters: This clearly shows… The writer has managed to… which makes the reader… This is effective because… or This works well because… Here, the words successfully highlight… The reader is bound to think that… One reader might argue that…

Remember: writer’s choice THEN effect of this on reader

+1: how might other readers interpret this? (remember: layers of interpretation)

Section B – CREATIVE WRITING 40 marks (50% of Language Paper 1 - 45 minutes)

You are given a choice between narrative and/or descriptive. [40: 24 content & organisation, 16 SPAG]

You will be given an image. Base your writing on this image, or you might be given the question: Write about a time when… YOU MUST PLAN:  1st person or 3rd person? Past tense or present tense (stick with one tense!)  How do you want your writing to begin?  What will be the topics of your paragraphs? Which paragraphs will zoom in, which will be wide-angle?  Is there going to be a shift or is it going to remain chronological?  How do you want your writing to end? (Cliffhanger? Circular structure?)

Use these for EFFECT:  Simile, metaphor, personification, extended metaphor  S e n s o r y l a n g u a g e : w h a t c a n t h e c h a r a c t e r s see, hear, smell, feel, taste?  Pa ra gra p h s of varyin g len gt h  A on e-se nt en c e p ara gra p h for i m p a ct  A r a n g e o f s e n t e n c e t y p e s ( l o n g , s h o r t , si m p l e , c o m p l e x )  A ra n g e of p u n c t u ati o n : ; – … ? !  A m b i ti o u s v o c a b u l a r y ( s p ell e d c o r r e c tl y !).

Language Paper 2 Knowledge Organiser: everything you need to know! (80 marks and 50% of your English Language GCSE Question [Marks] Timing

How do I structure my response?

Section A – READING 40 marks (50% of Language Paper 1 – 1 hour: 15 minutes reading and 45 minutes writing) Shade only the boxes of the TRUE statements 1. Choose FOUR statements… [4 marks] 5 minutes

2. You need to refer to Source A and Source B for this question. Use details from both Sources. Write a summary of the similarities/differences between.. [8 marks]

8 minutes

Write 3 paragraphs + a summative comment on the key similarity / difference. Each paragraph must include: Comparative sentence, referring to both sources. PE – Point about SOURCE A with embedded evidence to support. E – Explain and infer: what does this reveal / suggest? COMPARATIVE DISCOURSE MARKER (Similarly,… / In contrast, …) PE – Point about SOURCE B with embedded evidence to support. E – Explain and infer: what does this reveal / suggest?

What key things must I remember? Check you are looking in the right part of the text (hint: highlight a box around it) Only shade 4 boxes. You will look at two non-fiction texts (one modern and Sentence starters for explain / infer: one 19th Century). This could be about characters, events, This might suggest… settings or themes. It could be argued… Refer to the different time periods: It seems to the reader that… Differences: ‘Because of the different time periods…’ Similarities: ‘In spite of the different time periods…’ This possibly means… +1: what inferences can you make about how attitude is conveyed through tone?

This could indicate that…

*Do not analyse language.*

3. You now need to refer only to Source B. How does the writer use language to.. ? [12 marks] 12 minutes Remember the criteria from Lang Paper 1:  Words & phrases  Language features and techniques  Sentence forms

4. Refer to Source A and B. Compare how the two writers convey their different attitudes to..  compare their different attitudes  compare the methods they use to convey their attitudes  use references to both texts [16 marks] 20 minutes

A sentence or two to sum up the MAIN IDEA / EFFECT about what the question is asking (remember all points will link back to this). Aim for… Paragraph one: words & phrases Paragraph two: language features & techniques Paragraph three: sentence forms Use PEED (or SQuID) P – Point or statement, with technical terminology. E – Evidence (try embedding into Point) E – Explain what your evidence means. What is the EFFECT? D – Develop/Deepen your ideas and link back to the question. *Zoom in on words *Don’t stop at one idea * Say a lot about a little Remember to compare WRITERS’ ATTITUDES – not the attitudes of people in the text. Use PEED (or SQuID) P – Point or statement, using comparative phrases (Similarly, … In contrast, …) E – Evidence (try embedding into Point) E – Explain what your evidence means. How does it convey attitudes? D – Develop/Deepen your ideas and link back to the question.

This has connotations of…

How does the word/phrase/feature/technique make me FEEL, IMAGINE or THINK? Key expressions to remember: The writer uses a … to… The (technical terminology) could suggest/ reinforce/ imply/ reveal… This is reinforced through the (technical terminology)… This creates the effect of / that…

Technical terminology: Words: adjectives, adverbs, verbs, ‘the phrase’ Features & techniques: metaphor, simile, personification +1: alliteration (name the different types? Plosive, fricative, dental, sibilant) Sentence forms: short, long, exclamation, command, question (interrogative), statement. Other features: rhetorical questions, emotive language, register, tone.

How to compare “viewpoints, ideas and perspectives” What are the writers’ opinions or attitudes on the topic? Does it change? Consider the effects of language and structure as well as other methods that they use to convey their opinion or stance, such as:  Tone (positive, negative or ambivalent?), Use of imagery, Testimonies What is the writers’ viewpoint or perspective?  Are they biased? What do they choose to emphasise or foreground?  Do they choose to include or omit certain information?

Comparative phrases: Similarly, Equally, In the same way, Both… …and… In contrast, However, On the other hand, Alternatively,

Use these for EFFECT: Paragraphs of varying length Paragraphs link together and develop argument A one-sentence paragraph for impact A range of sentence types (long, short, simple, complex) A range of punctuation : ; – … ? ! Ambitious vocabulary (spelled correctly!)

Persuasive Devices Power of 3 Emotive Language Rhetorical Questions Statistics and Facts Undermine the opposition Alliteration Direct Address Exaggeration Repetition

Section B – TRANSACTIONAL WRITING 40 marks (50% of Language Paper 1 - 45 minutes)

5. Writing from a viewpoint.

You will be given a controversial statement so you can think about the theme and come up with your own viewpoint (The theme will be based on the texts from Section A).

Possible forms: letter, article, leaflet, speech, essay, textbook extract

YOU MUST PLAN: what is your FORM, AUDIENCE and PURPOSE? (FAP or PAF?)

Possible purposes: persuade, argue, explain, inform [40: 24 content & organisation, 16 SPAG]

Layout your text appropriately for the form: Article: 3rd person, Headline, Strapline, Sub-headings, Short paragraphs Letter: 1st persons, Start with ‘Dear ..’ and end with ‘Yours faithfully / sincerely, ..’ Speech: Introduce yourself and the topic, End with a sign-off (Thank you for listening). Essay: Essay title, Sub-headings. Leaflet: Title, Sub-Headings

Discourse Markers Firstly, … Secondly, … Furthermore, … Further to my last point, … Moreover, … Most importantly, … Crucially, … Although some might argue… To conclude,

List of Synonyms A list of synonyms & antonyms for the 100 most often used words in the English language.

Action Come

advance, approach, arrive, near, reach

Put

depart, disappear, fade, move, proceed, recede, travel

place, set, attach, establish, assign, keep, save, set aside, effect, achieve, do, build

Take

hold, catch, seize, grasp, win, capture, acquire, pick, choose, select, prefer, remove, steal, lift, rob, engage, bewitch, purchase, buy, retract, recall, assume, occupy, consume

Make

create, originate, invent, beget, form, construct, design, fabricate, manufacture, produce, build, develop, do, effect, execute, compose, perform, accomplish, earn, gain, obtain, acquire, get

Break

fracture, rupture, shatter, smash, wreck, crash, demolish, atomize

Destroy

ruin, demolish, raze, waste, kill, slay, end, extinguish

Kill

slay, execute, assassinate, murder, destroy, cancel, abolish

Cut

gash, slash, prick, nick, sever, slice, carve, cleave, slit, chop, crop, lop, reduce

Fall

drop, descend, plunge, topple, tumble

Fly

soar, hover, flit, wing, flee, waft, glide, coast, skim, sail, cruise

Decide

determine, settle, choose, resolve

Run

dash, escape, elope, flee, hasten, hurry, race, rush, speed, sprint

Hurry

rush, run, speed, race, hasten, urge, accelerate, bustle

Hide

conceal, cover, mask, cloak, camouflage, screen, shroud, veil

Move

plod, go, creep, crawl, inch, poke, drag, toddle, shuffle, trot, dawdle, walk, traipse, mosey, jog, plug, trudge, slump, lumber, trail, lag, run, sprint, trip, bound, hotfoot, high-tail, streak, stride, tear, breeze, whisk, rush, dash, dart, bolt, fling, scamper, scurry, skedaddle, scoot, scuttle, scramble, race, chase, hasten, hurry, hump, gallop, lope, accelerate, stir, budge, travel, wander, roam, journey, trek, ride, spin, slip, glide, slide, slither, coast, flow, sail, saunter, hobble, amble, stagger, paddle, slouch, prance, straggle, meander, perambulate, waddle, wobble, pace, swagger, promenade, lunge

execute, enact, carry out, finish, conclude, effect, accomplish, achieve, attain

Have

hold, possess, own, contain, acquire, gain, maintain, believe, bear, beget, occupy, absorb, fill, enjoy

Help

aid, assist, support, encourage, back, wait on, attend, serve, relieve, succor, benefit, befriend, abet

Use

employ, utilize, exhaust, spend, expend, consume, exercise

Mark

Get

acquire, obtain, secure, procure, gain, fetch, find, score, accumulate, win, earn, rep, catch, net, bag, derive, collect, gather, glean, pick up, accept, come by, regain, salvage

label, tag, price, ticket, impress, effect, trace, imprint, stamp, brand, sign, note, heed, notice, designate

Plan

plot, scheme, design, draw, map, diagram, procedure, arrangement, intention, device, contrivance, method, way, blueprint

Show

display, exhibit, present, note, point to, indicate, explain, reveal, prove, demonstrate, expose

Keep

hold, retain, withhold, preserve, maintain, sustain, support

List of Synonyms | Download Available From http://www.smart-words.org/list-of-synonyms/

Page 1 of 5

Antonyms Begin

start, open, launch, initiate, commence, inaugurate, originate

End

stop, finish, terminate, conclude, close, halt, cessation, discontinuance, cease, halt, stay, pause, discontinue, conclude, finish, quit

Big

large, enormous, huge, immense, gigantic, vast, colossal, gargantuan, sizable, grand, great, tall, substantial, mammoth, astronomical, ample, broad, expansive, spacious, stout, tremendous, titanic, mountainous

Little

small, tiny, diminutive, shrimp, runt, miniature, puny, exiguous, dinky, cramped, limited, itsy-bitsy, microscopic, slight, petite, minute

New

fresh, unique, original, unusual, novel, modern, current, recent

Old

feeble, frail, ancient, weak, aged, used, worn, dilapidated, ragged, faded, brokendown, former, old-fashioned, outmoded, passe, veteran, mature, venerable, primitive, traditional, archaic, conventional, customary, stale, musty, obsolete, extinct

False

wrong, fake, fraudulent, counterfeit, spurious, untrue, unfounded, erroneous, deceptive, groundless, fallacious, incorrect, inaccurate, mistaken, erroneous, improper, unsuitable

True

right, accurate, proper, precise, exact, valid, genuine, real, actual, trusty, steady, loyal, dependable, sincere, staunch, correct, accurate, factual, true, good, just, honest, upright, lawful, moral, proper, suitable, apt, legal, fair

Fast

quick, rapid, speedy, fleet, hasty, snappy, mercurial, swiftly, rapidly, quickly, snappily, speedily, lickety-split, posthaste, hastily, expeditiously, like a flash

Slow

unhurried, gradual, leisurely, late, behind, tedious, slack

List of Synonyms | Download Available From http://www.smart-words.org/list-of-synonyms/

Cool

chilly, cold, frosty, wintry, icy, frigid

Hot

feverish, warm, heated, sweltering, torrid, equatorial, tropical, erotic, passionate, spicy, peppery, pungent, sharp tangy, tart, fiery, flaming, sizzling, charged, burning, seared, chafedÂ´, inflamed, irritated, red, smarting, stinging

Quiet

silent, still, soundless, mute, tranquil, peaceful, calm, restful, hushed, inaudible reticent, reserved, taciturn, secretive, uncommunicative, tightlipped

Noisy

loudly, earsplitting, stentorian, strident, clamorous, boisterous, clangorous, deafening, roisterous, uproarious, pandemoniac

All

complete, entire, full, gross, outright, perfect, total, utter, whole, any, complete, every, sum, totality, each and every, every bit of, bar none, every single, everything, everyone

None

nothing, nobody, no one, zero, zilch, no one at all, no part, not a bit, not a soul, not a thing, not any, not anyone, not anything, not one, nonexistent, null nadir, nil, naught, void, nada, blank, nix

Normal

daily, traditional, familiar, routine, proper, ordinary, typical, everyday, usual, commonplace, natural, classic, standard, general, bona fide, established, habitual, orthodox, prevalent, run-of-the-mill, timehonored, unvarying, average, conventional, customary, common, regular, gardenvariety, household, plain, simple, balanced

Strange

abnormal, aberrant, anomalous, bent, bizarre, deviant, queer, eccentric, freakish, fanatical, odd, eerie, peculiar, weird, unorthodox, nonstandard, atypical, different, irregular, nonconforming, offbeat, unusual, extraordinary, insane, irrational, disorderly, rare, exceptional, extreme, outlandish

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Feelings Anger

enrage, infuriate, arouse, nettle, exasperate, inflame, madden

Angry

mad, furious, enraged, excited, wrathful, indignant, exasperated, aroused, inflamed

Calm

quiet, peaceful, still, tranquil, mild, serene, smooth, composed, collected, unruffled, level-headed, unexcited, detached, aloof

Eager

keen, fervent, enthusiastic, involved, interested, alive to

Fear

fright, dread, terror, alarm, dismay, anxiety, scare, awe, horror, panic, apprehension

Happy

pleased, contented, satisfied, delighted, elated, joyful, cheerful, ecstatic, jubilant, gay, tickled, gratified, glad, blissful

Hate

despise, loathe, detest, abhor, disfavor, dislike, disapprove, abominate

Love

like, admire, esteem, fancy, care for, cherish, adore, treasure, worship, appreciate, savor

Moody

temperamental, changeable, shorttempered, glum, morose, sullen, mopish, irritable, testy, peevish, fretful, spiteful, sulky, touchy

Sad

miserable, uncomfortable, wretched, heart-broken, unfortunate, poor, downhearted, sorrowful, depressed, dejected, melancholy, glum, gloomy, dismal, discouraged, unhappy

Scared

afraid, frightened, alarmed, terrified, panicked, fearful, unnerved, insecure, timid, shy, skittish, jumpy, disquieted, worried, vexed, troubled, disturbed, horrified, terrorized, shocked, petrified, haunted, timorous, shrinking, stupefied, paralyzed, stunned, apprehensive

Dull

boring, tiring,, tiresome, uninteresting, slow, dumb, stupid, unimaginative, lifeless, dead, insensible, tedious, wearisome, listless, expressionless, plain, monotonous, humdrum, dreary

Fat

stout, corpulent, fleshy, beefy, paunchy, plump, full, rotund, tubby, pudgy, chubby, chunky, burly, bulky, elephantine

Gross

improper, rude, coarse, indecent, crude, vulgar, outrageous, extreme, grievous, shameful, uncouth, obscene, low

Lazy

indolent, slothful, idle, inactive, sluggish

Trouble

distress, anguish, anxiety, worry, wretchedness, pain, danger, peril, disaster, grief, misfortune, difficulty, concern, pains, inconvenience, exertion, effort

Ugly

hideous, frightful, frightening, shocking, horrible, unpleasant, monstrous, terrifying, gross, grisly, ghastly, horrid, unsightly, plain, homely, evil, repulsive, repugnant, gruesome

Negative Awful

dreadful, terrible, abominable, bad, poor

Bad

evil, immoral, wicked, corrupt, sinful, depraved, rotten, contaminated, spoiled, tainted, harmful, injurious, unfavorable, defective, inferior, imperfect, substandard, faulty, disagreeable, unpleasant, cross, nasty, irascible, horrible, atrocious, outrageous, scandalous, infamous, wrong, noxious, sinister, putrid, snide, deplorable, dismal, gross, heinous, nefarious, base, obnoxious, detestable, despicable, contemptible, foul, rank, ghastly, execrable

Crooked

bent, twisted, curved, hooked, zigzag

Dangerous perilous, hazardous, risky, uncertain, unsafe Dilemma quandary, dilemma, pickle, problem, plight, spot, scrape, jam, predicament Hurt

damage, harm, injure, wound, distress, afflict, pain

Dark

shadowy, unlit, murky, gloomy, dim, dusky, shaded, sunless, black, dismal, sad

List of Synonyms | Download Available From http://www.smart-words.org/list-of-synonyms/

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Positive Amazing incredible, unbelievable, improbable, fabulous, wonderful, fantastic, astonishing, astounding, extraordinary

Funny

humorous, amusing, droll, comic, comical, laughable, silly

Good

excellent, fine, superior, wonderful, marvelous, qualified, suited, suitable, apt, proper, capable, generous, kindly, friendly, gracious, obliging, pleasant, agreeable, pleasurable, satisfactory, well-behaved, obedient, honorable, reliable, trustworthy, safe, favorable, profitable, advantageous, righteous, expedient, helpful, valid, genuine, ample, salubrious, estimable, beneficial, splendid, great, noble, worthy, first-rate, top-notch, grand, sterling, superb, respectable, edifying

Great

noteworthy, worthy, distinguished, remarkable, grand, considerable, powerful, much, mighty

Playful

mischievous, prankish, naughty, roguish, waggish, impish, sportive

Neat

clean, orderly, tidy, trim, dapper, natty, smart, elegant, well-organized, super, desirable, spruce, shipshape, well-kept, shapely

Popular

well-liked, approved, accepted, favorite, celebrated, common, current

Look

gaze, see, glance, watch, survey, study, seek, search for, peek, peep, glimpse, stare, contemplate, examine, gape, ogle, scrutinize, inspect, leer, behold, observe, view, witness, perceive, spy, sight, discover, notice, recognize, peer, eye, gawk, peruse, explore

Story

tale, myth, legend, fable, yarn, account, narrative, chronicle, epic, sage, anecdote, record, memoir

Think

judge, deem, assume, believe, consider, contemplate, reflect, mediate

Beautiful pretty, lovely, handsome, attractive, gorgeous, dazzling, splendid, magnificent, comely, fair, ravishing, graceful, elegant, fine, exquisite, aesthetic, pleasing, shapely, delicate, stunning, glorious, heavenly, resplendent, radiant, glowing, blooming, sparkling Brave

courageous, fearless, dauntless, intrepid, plucky, daring, heroic, valorous, audacious, bold, gallant, valiant, doughty, mettlesome

Bright

shining, shiny, gleaming, brilliant, sparkling, shimmering, radiant, vivid, colorful, lustrous, luminous, incandescent, intelligent, knowing, quick-witted, smart, intellectual

Delicious savory, delectable, appetizing, luscious, scrumptious, palatable, delightful, enjoyable, toothsome, exquisite Enjoy

Famous

appreciate, delight in, be pleased, indulge in, luxuriate in, bask in, relish, devour, savor, like well-known, renowned, celebrated, famed, eminent, illustrious, distinguished, noted, notorious

Descriptive Describe portray, characterize, picture, narrate, relate, recount, represent, report, record Difference disagreement, inequity, contrast, dissimilarity, incompatibility Explain

elaborate, clarify, define, interpret, justify, account for

Tell

disclose, reveal, show, expose, uncover, relate, narrate, inform, advise, explain, divulge, declare, command, order, bid, recount, repeat

Idea

thought, concept, conception, notion, understanding, opinion, plan, view, belief

List of Synonyms | Download Available From http://www.smart-words.org/list-of-synonyms/

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Talk / Speech Answer

reply, respond, retort, acknowledge

Ask

question, inquire of, seek information from, put a question to, demand, request, expect, inquire, query, interrogate, examine, quiz

Cry

shout, yell, yowl, scream, roar, bellow, weep, wail, sob, bawl

Mean

add up to, affect, be important, be of value, be substantive, carry weight, connote, count, denote, express, imply, intend, involve, signify, spell, stand for, suggest, value, weigh in

Say/Tell

inform, notify, advise, relate, recount, narrate, explain, reveal, disclose, divulge, declare, command, order, bid, enlighten, instruct, insist, teach, train, direct, issue, remark, converse, speak, affirm, suppose, utter, negate, express, verbalize, voice, articulate, pronounce, deliver, convey, impart, assert, state, allege, mutter, mumble, whisper, sigh, exclaim, yell, sing, yelp, snarl, hiss, grunt, snort, roar, bellow, thunder, boom, scream, shriek, screech, squawk, whine, philosophize, stammer, stutter, lisp, drawl, jabber, protest, announce, swear, vow, content, assure, deny, dispute

Unsorted Somewhat a little, sort of, kind of, a bit, relatively, slightly, moderately, to some extent / degree , reasonably, partially, more or less, not much rather, quite, fairly, by a long shot, by far, rather, significantly, well Somehow in a way, virtually, to a certain extent, in some measure, to some extent, to a certain degree, quasi, in a manner of speaking, effectively anyhow, anyway, anywise, by hook or by crook, another, howsoever, in any way, somehow or other, someway, by some means Definite

certain, sure, positive, determined, clear, distinct, obvious

Fair

just, impartial, unbiased, objective, unprejudiced, honest

List of Synonyms | Download Available From http://www.smart-words.org/list-of-synonyms/

Important necessary, vital, critical, indispensable, valuable, essential, significant, primary, principal, considerable, famous, distinguished, notable, well-known Interesting fascinating, engaging, sharp, keen, bright, intelligent, animated, spirited, attractive, inviting, intriguing, provocative, thoughtprovoking, challenging, inspiring, involving, moving, titillating, tantalizing, exciting, entertaining, piquant, lively, racy, spicy, engrossing, absorbing, consuming, gripping, arresting, enthralling, spellbinding, curious, captivating, enchanting, bewitching, appealing Part

portion, share, piece, allotment, section, fraction, fragment

Place

space, area, spot, plot, region, location, situation, position, residence, dwelling, set, site, station, status, state

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Subject: English Year: 7 Term: Autumn 1 Topic: Lord of the Flies Lesson Sequence Topic: Week 1 - Context and themes - Comprehension Weeks 2 - 4 - Descriptive writing - Narrative writing

Key terminology Imagery Pathetic fallacy Metaphor Extended metaphor Simile Personification Repetition Onomatopoeia Alliteration Sibilance Assonance Consonance PETER

Definition Visibly descriptive language Weather and nature reflect the mood Compare two things by saying one is the other Metaphor developed into a longer comparison Comparing two things using ‘like’ or ‘as’ Giving human qualities to something other than a person Word or phrase that is used more than once for effect A word that imitates the sound it represents Repetition of the same letter of sound at the beginning of closely connected words When words or phrases create a hissing sound Repetition of vowel sounds Repetition of consonant sounds Point Evidence Technique Explain Reader

Key Themes Civilization vs. Savagery Individualism vs. Community The Nature of Evil Man vs. Nature Dehumanization of Relationships The Loss of Innocence The Negative Consequences of War Context Author – William Golding First published in 1954 Coral Island published in 1857 Holocaust – 1933 - 1945 Second World War (WWII) – 1939-1945 Hiroshima and Nagasaki – 1945 Cold War – 1947-1991

, inarticulate

Weeks 5 – 7 - Language Analysis - Evaluation Key task: Write a description suggested by this image of an island or write the opening of a story about a plane crash. (40 marks) EXAM: “The writer brings the fire to life for the reader. It is as if you are inside the jungle.” (20 marks) - To what extent do you agree?

Key Character Ralph - Symbolises law, government and civil society Piggy - Symbolises science and rationality Jack Merridew - Symbolises dominance and power Simon - Symbolises morality and integrity Roger - Symbolises immorality and sadism

Adjectives Charismatic Athletic Diplomatic Vulnerable Intellectual Rational Militaristic Barbaric Dictatorial Visionary Frail Courageous Sadistic Ruthless Cruel

Definitions Admired and respected by others who follow their lead Physically fit Sensitive when dealing with others; a good listener and communicator Someone who needs to be protected Someone who is highly intelligent Someone who thinks logically and takes a common-sense approach Someone who supports taking aggressive action Savagely cruel Someone who likes to rule with absolute power Wise and insightful Physically weak and delicate Brave and fearless Enjoys inflicting pain, suffering and humiliation on others Feels no sympathy for other people Deliberately causes other people pain

Plot summary

Vocabulary

Characters

Context

Terms

Schoolboys have crash landed on a deserted island. The reader meets Ralph and Piggy. Piggy has asthma. They find a conch and use it to summon any other survivors including twins SamnEric, Jack and Simon.

efflorescence, enmity, decorous, chorister, bastion, hiatus

Ralph : the largest and most physically powerful. Wants to plan and follow rules, but even he is sometimes seduced by savagery. Symbolises: law, government and civil society.

Golding’s experiences in WW2 showed him the evils of human nature.

Scar

The boys focus on short term pleasure and fun. Ralph suggests building a fire to be rescued. Jack just wants to hunt. A boy with a birth mark tells of ‘the beast.’ He goes missing after the fire and the boys are ashamed.

Ebullience, recrimination, tumult, tirade

Piggy : the smartest boy but has asthma and is fat so bullied. Has a tendency to lecture and is ridiculed. Symbolises: science and rationality

During the cold war fears of nuclear annihilation gripped society.

Conch

Ralph wants to build shelters but only Simon helps whilst the others play and Jack hunts. The fire has been allowed to go out. Simon slips away to meditate.

oppressive, inscrutable, vicissitudes, declivities, tacit

Jack : Leader of the hunters. Loves to hunt and kill gets angry when he doesn’t get his way. Believes a leader should be obeyed. Symbolises: dominance and power

British public schools emphasized civility and ‘stiff upper lip’.

Allegory

Island life gets a rhythm. Mornings are pleasant because it is cool but evening is not because people worry about the beast. A boat goes past but there is no fire to attract it. Piggy is laughed at for sundials. Jack pants his face and hunts and kills a pig chanting “Kill the Pig. Cut her throat. Spill her blood.” Ralph walks away.

blatant, taboo, malevolently, sinewy

Simon : Dreamy, dark haired boy prone to fits. He recognises that the beast is within them. He is unafraid and meditates. Symbolises: Religion and spirituality.

Totalitarian governments such as Nazi Germany and Stalinist Russia controlled people through fear

Irony

Ralph calls a meeting to get people to follow the rules, but he and Jack are more apart than ever. There is talk of the beast, a little un suggesting it comes from the ocean at night. Jack just wants to hunt and won't listen to the rules of the conch. Ralph wishes for adults.

ludicrous, ineffectual, jeer, inarticulate

Symbols

Foreshadowing

A dead parachutist floats on to the Island. No one sees because the fire is out. When they awake, SamnEric light the fire and see him but they think it is a beast. Jack finds a rock and some boulders.

The conch

Metaphor

Jack and Ralph continue to clash as they search for the beast. Ralph kills a boar and is flushed with excitement. Robert is almost killed in the reenactment. Later they head up the mountain and see the beast and are terrified.

The lord of the flies

Symbolism

Jack declares himself chief of his own group. Simon meditates alone and leans what the beast is. Piggy tries to cheer Ralph up with talk of a new fire. The savages dance around as they kill a sow with Roger being very brutal.

Piggy’s glasses

Garden of eden

A storm comes and they have no shelter. Simon emerges from the forest and is killed by the other boys who think he is the beast. Ralph acts like a king.

corpulent, sauntered

CIVILIZATION and SAVAGERY : the boys descend into brutality as they become further removed from civilization.

The island

Temptation

Jack's gang have moved to castle rock. Ralph, Piggy and SamnEric remain but cant keep the fire going alone. Jack steals Piggy's glasses whilst the others protect the conch.

compelled

LOSS OF INNOCENCE: usually a symbol of naivete and innocence, the boys become increasingly brutal.

Fire and adults

Authority

The boys go to castle rock to confront Jack. Piggy is killed by a boulder pushed by Roger. Jack attempts to kill Ralph with a spear. He flees. Jack’s group torture SamnEric to join them.

The ‘beast’

Civilized

SamnEric are tortured into revealing Ralph’s hiding place. Jack vows to burn down the forest to find him. The smoke attracts a boat. The officer finds the boys and asks if they are playing at war. All of the boys cry whilst the officer looks back at his ship.

Fire

Savage

leviathan, clamour, mutinously

Roger: Quiet and intense at first then becomes more evil. He tortures SamnEric, kills Piggy and likes to inflict pain . Symbolises: Sadism Little ‘uns: Not easy to distinguish. They are fearful, terrified of the beast and just want to play. Symbolises: every day people who are manipulated by leaders

crestfallen, impervious, enterprise glowered, rebuke, demure, fervour

Themes

HUMAN NATURE : the book is an allegory for human nature and society.

luminous, myopia, THE WEAK & THE STRONG: The big ‘uns prey on the little ‘uns as the snivelling, island becomes survival of the fittest. quavered, talisman acrid, cordoned, elephantine, epaulettes

SPIRITUALITY & RELIGION: Simon is a christ like figure who sacrifices himself so the boys can know the truth.

Important quotations Within the diamond haze of the beach something dark was fumbling along...Then the creature stepped from the mirage on to clear sand, and they saw that the darkness was not all shadow but mostly clothing You got your small fire all right." […] the boys were falling still and silent, feeling the beginnings of awe at the power set free below them Roger gathered a handful of stones and began to throw them. Yet there was a space round Henry, perhaps six yards in diameter, into which he dare not throw. Here, invisible yet strong, was the taboo of the old life. Round the squatting child was the protection of parents and school and policemen and the law Fear can't hurt you any more than a dream. There aren't any beasts to be afraid of on this island . . . Serve you right if something did get you, you useless lot of crybabies!" . “There isn’t anyone to help you. Only me. And I’m the Beast. . . . Fancy thinking the Beast was something you could hunt and kill! . . . You knew, didn’t you? I’m part of you? Close, close, close! I’m the reason why it’s no go? Why things are the way they are?” "I just take the conch to say this. I can't see no more and I got to get my glasses back. Awful things has been done on this island. I voted for you for chief. He's the only one who ever got anything done. So now you speak, Ralph, and tell us what. Or else y. The rock struck Piggy a glancing blow from chin to knee; the conch exploded into a thousand white fragments and ceased to exist. Piggy, saying nothing, with no time for even a grunt, traveled through the air sideways from the rock, turning over as he went […]. Piggy fell forty feet and landed on his back across the square red rock in the sea. His head opened and stuff came out and turned red. Piggy's arms and legs twitched a bit, like a pig's after it has been killed. Ralph wept for the end of innocence, the darkness of man’s heart, and the fall through the air of a true, wise friend called Piggy.

Macbeth Knowledge Organiser Plot Summary:

Context:

Act I scene i – The three witches gather to meet Macbeth and Banquo. Act I scene ii – Duncan hears that the Thane of Cawdor has betrayed him, and that Macbeth has proven himself to be a

King James I - Macbeth was likely written in 1606, early in the reign of James I, who succeeded to the English throne in 1603 after being King of Scotland. The play pays homage to the king’s Scottish lineage and hatred of witches. Additionally, the witches’ prophecy that Banquo will found a line of kings is a nod to James’s family’s claim to have descended from the historical Banquo. The Divine Right of Kings – the idea that kings got their power from God and not from their subject. James I was a believer in this, and the idea meant that any treasonous activity was a crime against God. Only a century earlier, England had suffered under the massive disorder of the Wars of the Roses, so many supported the idea to avoid civil unrest. Patriarchy – patriarchal societies are those in which men dominate, and inheritance passes through male heirs. Gender –Macbeth and Macbeth switch between having masculine and feminine characteristics. In the play, gender is often linked to ambition and a willingness to do anything to achieve power. Women – Women were expected to obey everything that their husbands said. They were expected to be faithful and respectful at all times. They would have been regarded as a possession, first owned by the father, then given to and owned by the husband. Women were supposed to be religious and hate violence of any kind. They were considered the delicate, “fairer” sex and they should be quiet and reserved, always respecting the wishes and opinions of the males in their lives. Adam, Eve and the serpent – in the bible, Adam and Eve live peacefully in the Garden of Eden until Eve is tempted by the serpent and eats the forbidden fruit from the tree of knowledge. She convinces Adam to eat as well, and God curses them and banishes them to Earth. The serpent is frequently alluded to in the Macbeth. Witchcraft – in Shakespeare’s time there was no scientific knowledge to explain natural disasters such as earthquakes, floods and droughts. One of the ways they accounted for the unexplained was the idea of witches. In Elizabethan England hundreds of thousands of women were tortured and executed in Europe because they were accused of witchcraft The King wrote a book on the subject entitled ‘Deamonologie’ and appealed to parliament to pass the following act in 1563 which was still a part of English law until 1951.

hero. Act I scene iii – Macbeth and Banquo hear the predictions from the witches that Macbeth will be Thane of Cawdor and the next king, and Banquo’s children will be kings. Ross arrives and tells Macbeth that he is the new Thane of Cawdor. Act I scene iv – Duncan decides to make his son Malcolm the heir to his throne and tells Macbeth that he will visit his castle. Act I scene v – Lady Macbeth reads a letter from her husband about the events so far, and invokes the spirits to give her the strength to do what needs to be done to murder the King. Act I scene vi – Duncan arrives at Macbeth’s castle and is Act II scene i – Banquo feels uneasy about the night. Macbeth makes his way to Duncan’s room to kill him and sees a dagger floating in the air before him. Act II scene ii – Macbeth forgets to leave the bloody daggers in Duncan’s room after the murder and Lady Macbeth berates him before putting them back. Act II scene iii – Duncan’s body is discovered by Macduff the next day. Macbeth pretends to be angry and kills the servants to keep them out of the way. Duncan’s sons, Malcolm & Donalbain, flee the castle. Act II scene iv – Macduff reports that suspicion for the murder has fallen on the kin’s sons; Macbeth has travelled to Scone to be crowned. welcomed by Lady Macbeth. Act III scene i – Macbeth is king and Banquo is suspicious about how the witches’ predications have come true. Macbeth convinces murderers to assassinate Banquo. Act III scene ii – Lady Macbeth tries to get her husband to talk to her about his plans but he refuses. Act III scene iii – Banquo is murdered but his son, Fleance, escapes. Act III scene iv – At a feast that night, Macbeth sees the ghost of Banquo and acts strangely in front of his guests. Lady Macbeth tries to convince everyone this is normal behaviour. Act III scene v – The witches discuss events so far; Hecate, the ruler of the witches, predicts the downfall of Macbeth. Act III scene vi – Macduff has left for England to rouse support against Macbeth as suspicion and grows against the new king. Act IV scene i – Macbeth meets the witches who show him a series of apparitions. They tell him to beware Macduff, that he cannot be harmed by anyone ‘born of a woman’ and that he will be safe until Birnam Wood moves to the castle at Dunsinane. They also show him a line of Banquo’s heirs. Macbeth decides to murder Macduff’s family as a result of the first apparition. Act IV scene ii – Macbeth’s murderers kill Lady Macduff and her children. Act IV scene iii – Macduff and Malcolm discuss what it means to be kind. Macduff discovers his family’s murder and, with Malcolm, leads an army to attack Macbeth. Act V scene i – A doctor and Lady Macbeth’s servant watch Lady Macbeth sleep walking and trying to wash an imaginary blood spot from her hands. Act V scene ii – Malcolm’s army is at Birnam Wood and hear reports that Macbeth’s supporters are deserting him. Act V scene iii – Macbeth is under siege and places all his hope in the predictions from the witches. Act V scene iv – Malcolm orders his army to cut down branches from Birnam Wood to disguise the number of soldiers. Act V scene v – Macbeth is told of his wife’s death and about the news that Birnam Wood seems to be approaching. He resolves to die fighting. Act V scene vi - ix – Macbeth is killed by Macduff (who reveals he was delivered by caesarean and so not properly ‘born’). Malcolm becomes the new king of Scotland and order is restored.

Key Characters: Macbeth: Thane of Glamis Lady Macbeth: his wife Banquo: Macbeth’s best friend Fleance: Banquo’s son Duncan: King of Scotland Malcolm: Duncan’s eldest son Donalbain: Duncan’s younger son Macduff: Thane of Fife Lady Macduff: his wife Ross, Lennox, Angus: Scottish nobles Siward (and young Siward) – English Earl fighting for Malcolm (and his son) The witches: supernatural beings who predict events in the play. Hecate – Queen of the witches

Key Themes: Supernatural Gender Fate Murder Ambition Guilt Insanity Appearance Revenge

Macbeth Knowledge Organiser Key Quotes: Act 1. The witches: ‘Fair is foul, and foul is fair’

(Sc. 1)

Captain: ‘brave Macbeth—well he deserves that name’ (Sc. 2) Lady Macbeth: ‘Yet do I fear thy nature; It is too full o' the milk of human kindness.’ (Sc.5) Lady Macbeth: ‘Look like the innocent flower, but be the serpent under't.’ (Sc.5) Lady Macbeth: ‘un-sex me here, And fill me from the crown to the toe topfull of direst cruelty’ (Sc. 5) Macbeth: I have no spur to prick the sides of my intent, but only vaulting ambition which o’erleaps itself’ (Sc. 7)

Macbeth: ‘I dare do all that may become a man;

who dares do more is none.’ (Sc.7) Lady Macbeth: ‘I have given suck and know how tender ‘tis to love the babe that milks me’ (Sc. 7) Act 2. Macbeth: ‘Is this a dagger which I see before me, the handle toward my hand?’ (Sc. 1) Macbeth: ‘Will all great Neptune's ocean wash this blood clean from my hand?’ (Sc.2) Lady Macbeth: ‘My hands are of your colour, but I shame to wear a heart so white.’(Sc. 2) Act 3. Macbeth: ‘upon my head they placed a fruitless crown, and put a barren sceptre in my gripe’ (Sc. 2) Macbeth: ‘We have scorch’d the snake, not kill’d it.’ (Sc. 2) Macbeth: ‘O full of scorpions is my mind, dear wife!’ (Sc.2) Act 4. The witches’ apparitions: ‘beware Macduff’, ‘none of woman born shall harm Macbeth’, ‘Great Birnam wood…shall come against him’ (Sc. 1) Act 5. Lady Macbeth: ‘Out, damned spot!’ (Sc. 1) Macbeth: ‘Out, out, brief candle! Life's but a walking shadow’ (Sc. 5) Macbeth says life is: ‘a tale told by an idiot, full of sound and fury, signifying nothing.’ (Sc. 5) Macduff: ‘Macduff was from his mother’s womb untimely ripp’d.’ (Sc. 8) Malcolm: ‘Of this dead butcher and his fiend-like queen’ (Sc. 8)

Methods:

Sentence Starters:

Noun – A word for a person, place or thing. Pronoun – A word used when referring to someone or something. Verb – A word used to describe an action, state or occurrence. Adjective – A word to describe a noun. Adverb – A word used to describe a verb. Simile – A phrase comparing one thing to another, using as or like. Metaphor – A phrase comparing one thing to another, without using as or like.) Personification – A phrase giving human characteristics to a non-human object. Imagery – Words or phrases that create visual images. Emotive language – Words that create feeling and emotion. Colloquial language – Words that are informal and slang. Semantic field – A group of words that follow the same theme. Rhetorical question – A question that does not require an answer. Alliteration – Words close together that begin with the same sounding letter. Assonance – Words close together that begin with a vowel sound. Sibilance – Words close together that begin with an ‘s’ sound. Oxymoron – A phrase using contradictory words. Onomatopoeia – Words that create a sound. Symbolism – The representation of ideas in images or motifs. Punctuation – Marks used to separate or express meaning. Repetition – A word or phrase that is repeated. Dialogue – Words that are spoken by a character. Perspective – A point of view. Text can be written form a first (I), second (you) or third person (he/she/they) perspective. Sentence structures – The way that sentences are put together. Sentences can be simple (main clause), compound (main clauses joined with a conjunction, comma or semi colon) or complex (main and subordinate clauses). Foreshadowing – A hint or a warning of something in the future. Withholding – A technique where the author to holds back important information. Juxtaposition – Two concepts, themes, ideas or characters that are contrasting or opposite. Stage directions – an instruction indicating the movement, position, or tone of an actor, sound effects and lighting. Soliloquy – Thoughts spoken aloud by a character. Dramatic irony – A technique where the audience knows more than a character.

Shakespeare presents…

Key Words:

Quote (embedded)

Patriarchy – a male dominated society Matriarchy – a female dominated society Regicide – the murder of a monarch Jacobean – the era of James I’s reign Divine Right – the belief that Kings were chosen for the throne by God Ambition – the desire to succeed Prophecy – a prediction Infanticide – the murder of a child Supernatural – a being or event beyond natural understanding Apparition – a ghost Hallucination – a vision or delusion Insanity – madness Guilt – the feeling of remorse for a wrongdoing Despair – hopelessness Tragedy – a disaster or a play with an unhappy ending The Uncanny – Freudian theory where something appears familiar, yet unfamiliar at the same time

This suggests to the audience… Shakespeare is revealing… (his ideas/context) In particular, Shakespeare’s use of (method) implies …

BFS: The Merchant of Venice Knowledge Map Full title - The Comical History of the Merchant of Venice by William Shakespeare Type of literature –Play/Drama Language Period: Early Modern English – Elizabethan Genre- ‘Comedy’ It is known as a comedy because no one dies at the end, in effect. It is a problem’ play (neither comedy nor tragedy). WRITTEN: 1598; London, England ·First published in the’ Quarto’ of 1600 Time: Sixteenth century Setting Venice and Belmont, Italy Protagonist - no clear protagonist. Antonio is the merchant of the play’s title, but he plays a relatively passive role. The major struggles of the play are Bassanio’s quest to marry Portia and his attempt to free Antonio from Shylock, so Bassanio is the likeliest candidate. Main Conflict: All dramas need a ‘conflict’) Antonio defaults on a loan he borrowed from Shylock, wherein he promises to sacrifice a pound of flesh..

Themes and Symbols: Racial and Religious intolerance (anti-Semitism) Money and wealth Mercy and Justice Love Appearance and Reality (“all the glistens is not gold”) Self-interest versus love Hatred as ‘cyclical’ A ‘pound of flesh’ - is now a phrase for ‘revenge’

Language Features: • Iambic pentameter • Prose • Rhetorical Devices: hypophora (answering your own question) , anaphora (repetition at the start of a sentence) , rule of three, emotive language http://mannerofspeaking.org/2011/06/04/rhetorical-devices-introduction • Antithesis (contrast or opposites) • Personification –‘feed my revenge’ • Foreshadowing: In the play’s opening scene, Shakespeare foreshadows Antonio’s future by suggesting both his indebtedness to a creditor and the loss of his valuable ships Dramatic Features: • Acts and scenes • Entrances and exits • Aside: Only the audience hears what a character is saying and not the others on stage, such as when Shylock says, “I hate him for he is a Christian”, when Antonio is there with him. • Soliloquy (monologue or speech to the audience) • Dramatic Irony - Arises from the scenes involving disguise and deception. We, the audience, are aware that Lancelot is deceiving his old father, that Jessica dresses up as a boy, and that Portia and Nerissa are really Balthazar and his clerk. It's amusing because we know more than the characters on stage. Context • Globe Theatre – Shakespeare’s Theatre • Queen Elizabeth • Roderigo Lopez - Portuguese physician (doctor), who served Queen Elizabeth and was accused of trying to poison her. May have been an inspiration for Shylock in The Merchant of Venice • Anti-Semitism • JEWS IN 16th CENTURY VENICE - Until 1385, when the first Jews began to settle in Venice , Jews were only allowed to come to Venice for money-lending purposes (known as Usury) • The Venetians wanted to decrease Jewish contact with Christians so they created a Jewish Ghetto in 1516. Thousands of Jews were crammed into tall buildings and access to the rest of the city was restricted.

Characters: • • • • • • • • • • •

THE PRINCE OF MOROCCO, suitor to Portia ANTONIO, a merchant of Venice BASSANIO, his friend SALANIO, friend to Antonio and Bassanio SALARINO, friend to Antonio and Bassanio GRATIANO, friend to Antonio and Bassanio LORENZO, in love with Jessica SHYLOCK, a rich Jew TUBAL, a Jew, his friend PORTIA, a rich heiress NERISSA, her waiting-maid JESSICA, daughter to Shylock

Quotations:  “In sooth I know not why I am so sad” -Antonio  "The devil can cite scripture for his purpose." Antonio  “In Belmont is a lady richly left” Bassanio  “How like a fawning publican he looks. I hate him for he is a Christian” – Shylock  You call me misbeliever, cutthroat dog,/And spet upon my Jewish gabardine—Shylock  "Mislike me not for my complexion, The shadow'd livery of the burnish'd sun." Morocco  "It is a wise father that knows his own child." Launcelot (could be applied to Portia)  "All that glisters is not gold." (Morocco Act II, Scene VII)  Hath not a Jew hands, organs, dimensions, senses, affections, passions? … The villainy you teach me I will execute—and it shall go hard but I will better the instruction. - Shylocj  The quality of mercy is not strained, it droppeth like a gentle rain from heaven. - Portia  It is mightiest in the mightiest. – Portia  n Act 2, scene 6, Jessica says "Love is blind, and lovers cannot see the pretty follies that themselves commit."

PLOT and literary features

CHARACTERS and interpreta9ons

George

We meet George and Lennie in an idyllic, natural se6ng. They discuss their dream of freedom & self-‐sufficiency. -‐ Steinbeck uses religious allusions to the Garden of Eden, in order to portray the state of damna?on of mankind. They arrive at the ranch and the claustrophobic bunkhouse, where we are introduced to Candy, the boss, Curley, Curley’s Wife, Slim and Carlson. -‐Steinbeck deliberately portrays the bunkhouse with imagery the equates it with a prison in order to show how the marginalised are treated. Candy’s dog is shot by Carlson. Candy is able to finance the dream. Curley aJacks Lennie. -‐Steinbeck uses the symbol of the dog to represent the violent treatment of the socially marginalised. Set in Crooks’ ramshackle shed. Lennie and Curley’s Wife pay Crooks a visit. -‐Steinbeck uses Crooks’s room to symbolise segrega?on. He is described with animal imagery when being brutal to Lennie. In the barn. Curley’s Wife is killed by Lennie and Lennie escapes. -‐Steinbeck uses imagery that suggests a loss of control in order to suggest violence is pre-‐determined. Back ‘down by the river’. George shoots Lennie. The dream is dead. -‐Steinbeck exploits a circular structure, where we return to the Edenic idyll in the opening, sugges>ng the inevitability of suffering and destruc>on

Lennie

-‐frustrated, devoted, a dreamer, a fallen angel? Some see George as the noblest character in the book, who makes sacrifices for a helpless friend. Others see him as a flawed bully, who sustains power over Lennie in order to suit his own selfish ends. -‐childlike, unassuming, physically powerful. Some see him as completely innocent and unaware. Others argue that his mad hallucina?on with the rabbit proves that he develops an awareness of guilt, he is also lethal because he is unaware of social rules.

Vocab/ concepts: talk about the text eden (n) / edenic (adj)

garden in heaven (n)

idyll (n) / idyllic (adj)

an unrealis?cally posi?ve place (n)

desolate (adj/v)/ desola?on (n)

physically or emo?onally bleak or empty (adj)

marginalise (v) / marginalisa?on (n)

To treat a person or group as insigniﬁcant (v)

callous (adj) / callousness (n)

Insensi?ve and cruel lack of care for others (adj)

Candy

-‐unloved, an outcast, aging, crippled. Some see Candy is the embodiment of the marginalised. Others see that he inﬂicts the sort of pain he has himself experienced.

hierarchy (n)/ hierarchical (adj)

a system ranking members according to status (n)

Curley

-‐insecure, unmerciful, jealous. Some see Curley as the embodiment of evil and the vices of humanity. Others see him ac?ng in response to a ﬁercely compe??ve hierarchy and a sense of vulnerability.

predes?ne (v)/ predes?na?on (n)

determine an outcome in advance according to fate or divine will (v)

fatalism (n) / fatalis?c (adj)

a belief that all events are pre-‐determined. (n)

outcast (n)

a person rejected by a group or society (n)

disenfranchise (v) / disenfranchisement (adj)

to deprive someone of a right or privilege (v)

debilita?ng (adj) / debilitate (v)

to make someone weak or crippled (v)

objec?fy (v) / objec?ﬁca?on (n)

to degrade something to status of an object (v)

misogyny (n)

prejudice/hatred towards women (n)

masculinity / femininity (n)

the state of possessing quali?es tradi?onally associated with each gender.

emasculate (v) / emascula?on (n)

to deprive a man of his masculinity.

illusory

based on imagina?on or unreal.

cynicism (n) /cynical (adj)

a state of mind distrus?ng of others’ mo?ves

Curley’s wife

-‐seduc9ve temptress, objec9ﬁed, lonely, nameless. Some see her a ﬂirta?ous temptress, whilst others see her as the vic?m of a misogynis?c society.

Crooks

-‐ cynical, proud, isolated Is a construct to express injus?ce. He is not fundamental to the plot. One the hand he appears to be the vic?m.. On the other, he enjoys torturing those weaker than himself.

Slim

-‐ compassionate, wise, respected A construct that represents Godliness. On one hand the ideal man; alterna9vely his power to sanc?on death shows even good men have bad within.

Carlson

-‐ heartless, insensi9ve, vicious Another character construct, expressing the brutality and violence of mankind. His gun is German and deliberately associates him with the 1st WW.

Context The American Dream

The na?onal ethos of the United States in which freedom includes a promise of the possibility of prosperity and success, regardless of social class or circumstances of birth.

The Great Depression and the Dust Bowl

A major economic catastrophe occurring a\er Wall St Crash (1929) where a major part of the workforce become unemployed (20% of the popula?on – 10 million). To make things worse, huge dust storms destroyed the agricultural lands in the centre of the country during the Dust Bowl (1934-‐1937). These workers migrated to California.

The Role of Women

As the role of women in the economy grew, they were resented and treated with hos?lity by men, par?cularly in the climate of the ?me where jobs were diﬃcult to come by. Women are poorly valued in the novel and seen as possessions

Racial segrega9on

During the 1930s, black people were physically separated from white in public spaces, like buses, cinemas or toilets. This con?nued un?l the civil rights movement in the 1960s, but hos?lity was widespread during the era of the novel.

Steinbeck’s arguments

KEY QUOTES

George and Lennie’s Farm

The farm George and Lennie hope to own is a symbol of the American Dream. Like a mirage, the farm leads George, Lennie and other ranchers like Candy and Crooks, to indulge in the dream of living “oﬀ the faJa the lan”.

Steinbeck encourages us to empathise with the plight of migrant workers and all of the marginalised ci9zens during both the Great Depression and our own ?me

George

C1. “Guys like us, that work on ranches, are the loneliest guys in the world. They got no family. They don’t belong no place. . . “

Lennie

Lennie’s dream is to tend the rabbits on the farm that he and George hope to one day own. Lennie loves the rabbits because of their so\ fur, and his love of touching so\ things leads to his doom.

The novella explores the human need for companionship and the tragedy of loneliness.

C1 “Slowly, like a terrier who doesn’t want to bring a ball to its master, Lennie approached, drew back, approached again.

Slim

C2 “Aint many guys travel around together, he mused. I don’t know why. Maybe ever’body in the whole damn world is scared of each other.’’

A symbol for the marginalised in society. Carlson’s killing of the dog makes it clear that during the depression only the strong survive. The way in which Carlson kills the dog-‐ with a gunshot to the back of the head-‐ foreshadows Lennie’s death and likens Lennie to Candy’s dog: they’re both powerless, innocent and doomed.

Steinbeck explores the tension between the inevitability of fate and the fragility of human dreams.

Candy

C3. "I ought to of shot that dog myself, George. I shouldn't of ought to let no stranger shoot my dog"

George

C3. “We wouldn’t ask nobody if we could. Jus’ say, ‘We’ll go to her,’ an’ we would “

Crooks

C4. “Ever’body wants a liJle piece of lan’. I read plenty of books out here. Nobody never gets to heaven, and nobody gets no land.”

Crooks

C4 “A guy needs somebody to be near him. He whined, a guy goes nuts if he ain’t got nobody”

Curley’s wife

C5. “And the meanness and the plannings and the discontent and the ache for aJen?on were all gone from her face. She was very preJy and simple, and her face was sweet and young.”

Part 6

C6. “A silent head and beak lanced down and plucked it out by the head, and the beak swallowed the liJle snake while its tail waved fran?cally.”

George

C6. “No, Lennie. I ain’t mad. I never been mad, an’ I aint now. That’s a thing I want ya to know

Rabbits

Candy’s dog

Lennie’s puppy

Just as Lennie is dependent on George, Lennie’s puppy is en?rely dependent on Lennie. Like Lennie, the puppy symbolises the fate of the weak in the face of the strong.

The cards

Symbolise the role of fate and random chance in determining the lives of the unfortunate.

Animal imagery

Steinbeck uses animal imagery to reveal human savagery and degenera?on, which seem to be the eﬀects of poverty and suﬀering.

Plot structure

Steinbeck juxtaposes moments of op?mism with destruc?on and despair to reveal the necessary triumph of destruc?on.

The American Dream is shown to be impossible: reality defeats idealism.

Steinbeck reveals the predatory nature of mankind: the powerless are targeted by the powerful.

The novella is an indictment of the way society treats the dispossessed.

OF MICE AND MEN-‐ JOHN STEINBECK

SYMBOLS, MOTIFS & STRUCTURE

Subject: English Year: 8 Term: Autumn 1 Topic: Oliver Twist Topic: Lesson Sequence Week 1 - Context and themes - Comprehension Weeks 2 - 4 - Character and theme analysis - Descriptive and narrative writing Weeks 5 – 7 - Overall evaluation of Fagin’s character Key tasks: 

Either write a description of a Victorian Workhouse or write a narrative about an experience of life in a workhouse.

EA Exam 1. How does Dickens present Fagin as a conniving career criminal?

Key terminology Protagonist Third person narrative Benefactor Career criminal Anti-Semitism Stereotype Heinous Beadle Pauper Slum Satirical Corruption

Definition Main character in a work of literature Written from the narrator’s perspective Person who gives money and/or support to someone else in need Someone who lives off the profits from criminal acts Prejudice against Jewish people Widely held but overly simplified view of a particular type of person A completely wicked, evil act Minor church official Someone who is extremely impoverished (poor) Overcrowded, squalid area where paupers live Sarcastic, critical and mocking presentation of someone Dishonest abuse of power

Standard English

Correct and accurate form of the English language

Cockney rhyming slang

Informal language that originated in the East End of London

PETER

Point Evidence Technique Explain Reader

Key Themes Failure of charity Folly of Individualism Purity in a corrupt city The countryside idealised Context Author – Charles Dickens Child labour 1837 first instalment of Oliver Twist published Poor Law of 1834 Victorian Era (1837-1901) Industrial Revolution (1750-1900) Capital punishment

, inarticulate

Key Character Oliver Twist - Symbolises failures of Victorian society to look after the poor Fagin - Symbolises the Victorian underworld and anti-Semitic stereotypes Artful Dodger - Symbolises the corruption of childhood Mr. Brownlow - Symbolises civilised Victorian society Bill Sikes - Symbolises irrational evil Mr. Bumble Nancy

Adjectives Naive Innocent Vulnerable Devious Conniving Avaricious Audacious Jaunty Erudite Respectable Brutal Vicious Pompous Altruistic

Definitions Someone with a lack of knowledge and experience Someone who is not guilty of any immoral behaviour Someone who needs the protection of others Skilfully uses underhand tactics for his own goals Plans immoral/ criminal acts Someone who is extremely greedy Willing to take risks Lively, cheerful and self-confident Someone who is highly educated Regarded by others to be a good social example Savagely violent Deliberately cruel Someone who believes in their own importance Selflessly helps others

Context 16th Century Venice: The Venice in Othello is very unlike the bustling, greedy Venice of The Merchant of Venice. Admired for its wealth, its cosmopolitan society and republican cons4tu4on, which it fiercely defended against repeated Papal assaults and aWempts to take control, this Venice, was “the idealized city of classical theory – a place where the turbulence of individual emo4on is subjected to the ra4onal calm of authority”. It is a dynamic port city, a site of transi4on and exchange, which connects it to the play’s explora4on of bifurcated characters. The Music of the Spheres: originated in the Ptolemaic concep6on of the finite, ordered universe, thinkers during the Renaissance were in agreement that the universe possessed a finely constructed and harmonious natural order. This divine sense of order is oAen transformed, through another concep6on from the era, “The Chains of Being”, to be running through all “hierarchies“ of human existence, from the bru6sh concep6on of the lowest forms of nature, right up to the divinity of God. Iago draws on these concepts in conceiving of his plan for the domes6c disrup6on of O and D’s rela6onship. (II:! – 196-‐198) Vene7an – Turkish War – Othello is set against the backdrop of the wars between Venice and Turkey that raged in the laWer part of the sixteenth century. Cyprus, which is the seHng for most of the ac4on, was a Vene4an outpost aWacked by the Turks in 1570 and conquered the following year. Cyprus would have been seen as an embaWled military outpost, a island belonging to the story domain of the passions. If Venice is a place of social order, Cyprus is suspended between a locus of “civilisa4on” and African barbarism Gionvanni Cinzio’s text – The story of Othello is also derived from another source—an Italian prose tale wriWen in 1565 by Giovanni Cinzio The original story contains the bare bones of Shakespeare’s plot: a Moorish general is deceived by his ensign into believing his wife is unfaithful. To Cinzio’s story Shakespeare added suppor4ng characters such as the rich young dupe Roderigo and the outraged and grief-‐stricken Braban4o. Shakespeare compressed the ac4on into the space of a few days and set it against the backdrop of military conflict. And, most memorably, he turned the ensign, a minor villain, into the arch-‐villain Iago. Also, D and O’s rela4onship is not disastrous in the source text. Also, Iago is in love with Desdemona.

Moors and racial iden7ty: The word Moor now refers to the Islamic Arabic inhabitants of North Africa who conquered Spain in the eighth century, but the term was used widely in the period and was some4mes applied to Africans from other regions. George AbboW in his A Brief Descrip6on of the Whole World of 1599, made dis4nc4ons between “blackish Moors” and “black Negroes”; a 1600 transla4on of John Leo’s The History and Descrip6on of Africa dis4nguishes “white or tawny Moors” of the Mediterranean coast of Africa from the “Negroes or black Moors” of the south. Jacobean theatre oYen wrote hos4le, cri4cal roles, associa4ng black skin with primi4vism, barbarism and lasciviousness. The binary between black and white imagery that runs throughout Othello is certainly a marker of diﬀerence between Othello and his European peers. However, on the Elizabethan and Jacobean stage, none are given so major or heroic a role as Othello. The most vividly stereotypical black character of the period is Aaron, the villain of Shakespeare’s early play Titus Andronicus. The an4thesis of Othello, Aaron is lecherous, cunning, and vicious. Othello, by contrast, is a noble ﬁgure of great authority, respected and admired. Only I voices an explicitly stereotypical view of O, depic4ng him from the beginning as an animalis4c, barbarous, foolish outsider.

The age of Explora7on and the impact of exchange on concep7ons of self: In his study of the period, sociologist Daniel Lerner defines the West as a "mobile society”; one characterized by a "mobile sensibility so adap4ve to change that rearrangement of the self-system is its dis4nc4ve mode." He established an opposi4on between tradi4onal socie4es based on a "highly constric4ve personality", one that resists change and is incapable of grasping the situa4on of another” with the newly modern West, where the mobile personality of Western society "is dis4nguished by a high capacity for iden4fica4on with new aspects of his environment.” He labels these terms as forms of empathy, defined as "the capacity to see oneself in the other fellow's situa4on" (50). In the West, this capacity fostered first by the physical mobility ini4ated by the Age of Explora4on, then confirmed and broadened by mass media. The play seems to ques4on the associa4on between these facul4es and beneficence through I. He, more than any other character, demonstrates these imagina4ve facul4es, using them exclusively for diabolic outcomes. Gender and “sexual order”: The concept of equality between the sexes would have seemed very foreign to most in Shakespeare's day: Adam was created first, and Eve from his body; she was created specifically to give him comfort, and was to be subordinate to him, to obey him and to accept her lesser status. A dominant woman was unnatural, a symptom of disorder. The medieval church had inculcated a view of women that was split between the ideal of the Virgin Mary, and her fallible counterpart, Eve, or her an4-‐ type, the Whore of Babylon. Unfortunately, the Virgin Mary was one of a kind, so there was oYen a general distrust of women; Renaissance and Medieval literature is oYen misogynis4c. Queen Elizabeth cul4vated the view that she was the ideal; Joan of Arc, on the other hand (at least in Shakespeare's play Henry VI, Part One), was seen as a devil.

The Age of Explora7on: absorp7on and displacement – sociological reading of early European colonialism, with its displacement and absorp4on of na4ve cultures, posits that power is exercised by absorbing that which is “other” by par4al replica4on and then displacing the original. This exercise of power connects to Othello’s cultural role in the play and Iago’s role as the arch-‐mainpulator.

Othello in 7 Key Scenes Act 1 Scene 1: Resentment and redress

In Venice, R (an unsuccessful suitor to D) persuaded by I to overthrow O. I has been passed over for promo4on by O in favour of C. I tells R that he hates O but will pretend to love him while ploHng his downfall. R and I wake B with the news that D has eloped with O. When B discovers that his daughter really has gone, he accepts R’s oﬀer to take him to O and D.

Act 1 Scene 3: Talk of Love and War in Venice.

Duke and senators are concerned the Turks will invade Cyprus. Duke thinks B and O have arrived to discuss the military situa4on but B accuses O of abduc4ng his daughter. O explains how he wooed D uninten4onally recoun4ng his past life. D conﬁrms this version of events and since she is married to O, her father is told to make the best of it. The Duke orders O to go to Cyprus immediately. O tells ‘honest’ I to escort D who pleads to accompany. Thinking he has lost D forever, R is urged by I to get money and follow them to Cyprus where he will have the opportunity to cuckold O. Once alone, I reveals that he will convince O that D and C are having an aﬀair.

Act 2 Scene 3: Cassio Carouses in Cyprus

Turkish fleet destroyed in a storm and Vene4an forces in Cyprus celebrate. Before O re4res to his marriage bed with Desdemona, he leaves C in charge of the guard. I, aware that C is alcohol-‐intolerant, deliberately plies him with drink. A 4psy and quarrelsome C, encouraged by R, gets into a fight during which he aWacks Montano when he tries to stop him pursuing R. The fight is stopped by Othello, who has leY the bridal chamber. I pretends to defend C but O strips C of his officership. I pretends to reassure the devastated C and offers to bring about reconcilia4on with O through his wife, E, who will ask D to intervene.

Act 3 Scene 3 “The Green Eyed Monster” jealousy is aroused

D tells C that she will speak to O on his behalf. As they approach, I suggests to O that C is guilty. Despite D’s pleas, O refuses to recall C. Once alone with O, I con4nues to suggest that there is something going on between D and C. O begins to have doubts about his wife’s fidelity. D senses that O is unwell so offers him a handkerchief, his first giY to her. O pushes the handkerchief away and it drops to the floor, where E finds it and hands it to I, who has been eager to obtain it. O returns and demands I give him proof of D’s unfaithfulness. I tells O that when he shared a bedroom with C, he overheard him ploHng with D in his sleep. He has also seen C wiping his beard with the handkerchief. O vows that he will tear D apart and makes I swear to kill C.

Act 4 Scene 1 Othello receives “proof”

I stokes the ﬂames of jealousy un4l O collapses in an unconscious ﬁt. When C appears, I tells him that O has epilepsy and if roused will be enraged, so C agrees to return later. As O revives, I urges him to hide and overhear his conversa4on with C. I and C laugh and joke about B, who loves C, but I tricks O into thinking they are discussing D. To make maWers worse, B angrily returns the special handkerchief to C, who has previously given it to her, having discovered it in his chamber, where I had secretly planted it. This charade convinces O of D’s guilt and he vows to kill her. I suggests O should strangle her in bed and he promises to kill C. When D arrives with news from V, she inadvertently ignites O’s fury by referring to her regard for C, for which he strikes her.

Act 5 Scene 1: The deadly aWack on Cassio

Under cover of darkness, I hides, while R strikes the approaching C with his sword but fails to kill him. In defending himself, C seriously wounds R. I secretly stabs C in the leg. His cries are heard by O, who thinks I has fulﬁlled his promise of killing C. Delighted, O leaves to deal with D. I reveals himself and pretends to respond to the commo4on. He ﬁnds R and kills him in the darkness. Then he aWends to C and accuses B of being behind the aWack. Finally, he instructs E to inform O and D.

Act 5 Scene 2: Smothering Love and Exposing Villainy

A resolute O approaches the sleeping D, bends over the bed and kisses her. When she wakes, he urges her to pray because he is about to kill her D professes her innocence, insis4ng she doesn’t love C and never gave him the handkerchief. O tells her that C is dead but her tears at this news provoke him to smother her. E pleads to be let in to the chamber and eventually O obeys. E informs O that R has been killed by C, who is s4ll alive. D revives temporarily and E hears her cries. Her dying words aﬃrm her innocence and she insists that O is not to blame. O and E argue about D un4l she reveals he has been deceived by her husband, I. E calls for help and when Montano and Gra4ano arrive with I, she accuses O of murdering D and I of being a liar. Gra4ano brings news from Venice that D’s father, B, has died from grief as a result of her marriage to O. E conﬁrms that she gave the handkerchief to I. O tries to kill I, who fatally stabs E before escaping. The truth discovered, O mourns his innocent D. When I is brought back as a prisoner, O stabs him but fails to kill him. I resolutely refuses to say anything. O’s command in Cyprus is given to C, so he is ruined professionally as well as personally. O stabs himself with a sword he has previously concealed then kisses the lifeless D and dies. It is leY to C to decide I’s punishment.

Text vocab

Deﬁni7ons

1) desolate

spiritual ruin; loss of soul

1) laconic

using few words; concise

1) sordidness

lacking in morals

1) candid

sincere; straighdorward

1) bombast

preten4ous words

1) guileless

open with words; honest;

1) perdi4on

abandoned by friends/hope

1) subjuga4ng

bringing under control

2) forbear

to refrain or abstain from

2) circumspec4on

cau4on; thoughdulness

2) facile

easily done or performed

2) beguile

to inﬂuence by trickery

2) alacrity

cheerful willingness

3) consecrate

to make or declare sacred

3) wanton

without mo4ve or provoca4on

3) usurped

taken or used by force

3) sated

sa4sﬁed; full

3) surfeited

indulged in excess

3) paragon

models of excellence

4) peevish

annoyed; irritated

4) impervious

incapable of being persuaded

4) entreat

ask earnestly; beg

4) dilatory

tending to waste 4me

5) vehement

strongly emo4onal or vocal

5) cas4ga4on

severe verbal punishment

5) pernicious

causing harm or ruin

5) odious

deserving hatred

5) traduce

speak maliciously and falsely

Characters: mo7va7ons and readings

Iago

Othello

Desdemona

Cassio

A working class soldier. Hates O and resents his preference of Cassio for promo4on and possibility that O has slept with D. Treats O according to a colonial ideology, as an “erring Barbarian” using rhetoric that involves fears of darkness and passages from the Old Testament that associates black skin with fear. I’s subordinate posi6on allows him to conceal his power. The play draws us into his purview, whilst maintaining distance from Othello’s consciousness. His name may allude to San7ago, a Spanish conqueror of the Moors, who is famously pictured on a white horse trampling Moors. Crit Interps: the surrogate crea7ve drama7st who relishes ability to bring all characters into submission to his “narra6ve”; manipula6on is based on profound interpersonal intelligence. Coleridge: “fiendish mo7veless malignancy.” A nihilis7c-‐truth teller, who grasps reality of interac6on more than superiors because of cynicism. His reduc6ve truths based on seeing posi6ve abstrac7ons (love/nobility) as trifles that result in self-‐decep7on. Conflicted by lack of material success brought by this perspec4ve. Leavis sees him as an externalisa6on of Othello’s weakest feats. GreenblaX sees manipula6on based on ability to play on Othello’s own fears about his rela6onship with D as adulterous. A general, both an influen6al figure in Vene6an state and an outsider to its social norms. A commiXed idealist, living for abstract constructs that the play reveals as limited. His final speech sees him clinging on to his self-‐idealiza6on. Some see him as generous and open, based on his re-‐ instatement of Cassio on the basis of love. Others also blame D and C for making I’s manipula6ons easier. Name may be an allusion to Johnson’s Thorello, a jealous husband, which emphasizes the importance of this theme. O is self-‐cri6cal & hesitant and believes his non existent limita6ons with language are caused by race. Has internalised V’s social norms in self –iden6fica6on. An unstable character, evident in contras6ng judgments formed about Cassio and Desdemona. Sexually repressed and guilty, his harm of D and self expiates his guilt for ero6c drive. Berger sees Othello trapped in sado-‐masochis7c desire for punishment: “the guilty sinner’s discourse.” O enlists I’s help to enact his own self-‐punishment. Schlegel sees him as a "divided being." At the end of the play, "he suffers as a double man, at once in the higher and the lower sphere in which is being was divided.” Builds on of the XBan convert interpretaBon, which sees O as recan4ng a faith not fully absorbed in the final scenes. Eliot sees O’s final speech as an effort to cheer himself up, a kind of willful self-‐ delusion. This reading relies upon vision of O as a unified self. Daughter of nobility, seen by all as pure and chaste. Commided in her idealis6c love to O. Resists simplis6c black/white good/evil binary constructed by characters like Iago, but figures O’s racial character according to another theory of human development (the humours). She argues that southern climate has burned up the hot and moist humours most likely to cause jealousy. Has refused the suits of other men. Naive and youthful, reflected in way she takes up C’s cause in spite of severity of his transgression against O. Her desire is mo6vated by youthful need to prove ability to influence O and public life. She, rather than O, speaks language of "passion,” associated by I with O, as he evokes idea of unbridled black sensuality, and racist readings reliant on these associa6ons. Auden unique in his hos6lity who he sees as ac6ve solicitor in rela6onship and compares her passion to "the roman6c crush of a silly schoolgirl rather than a mature affec6on." He believes exo6cism of Othello's adventures, rather than character, is source of fascina6on. Jan KoX: "The more violently Desdemona becomes engrossed by love, the more of a slut she seems to Othello; a past, present, or future slut. The more she desires, the beder she loves, the more readily Othello believes that she can, or has betrayed him.” From Florence and lacks connec6on with Venice and its sense of change/dynamism. An intellectual and a tac6cian, resented by I for his lack of experience on the badlefield. Eager to be self-‐lenient and excessively proud of new rank granted by Othello and a snobbish sense of superiority regarding social status. Displays maudlin religiosity in response to his gra6tude to Othello. Unstable, evident aAer his transgressions in Cyprus, whereby he ini6ally takes the blame for his misadventure. Iago manages to convince him of his blamelessness, externalising the blame to the "devil drunkenness." Displays a superficial and misogynis6c quality in his behaviour with Bianca. His descrip6on of her as a "bauble" reflects his juvenile treatment of her as a plaything. His simple desire for a sexual liaison stands in contrast to unrealis6c idealisa6on of Desdemona, who he sees as an archetype rather than a fully-‐ realised individual.

Emilia

Older and more worldly than D, but develops a close rela6onship with her. Trapped in an unhappy marriage to most malevolent Shakespearean villain, leads her to formulate a 1D prejudiced view of men that contrasts with D’s idealism. She mirrors I’s intense gender hos6lity. Her one ﬂaw, to steal D’s handkerchief, causes her death. She does clear D’s name and is punished for unmasking I.

Roderigo

Play’s most limited character. Rich & unintelligent, thinks that expensive giAs will be enough to get D to fall in love. Iago uses him as he is most vulnerable to manipula6on, for which he falls repeatedly. Appears, at 6mes, to func6on akin to an unreliable narrator, revealing ease with which we can be deceived. Calls Othello “thick lips” and ascribes to racist ideology shared with I.

Bianca

She is in love with Cassio, who sees her as a nuisance. She func6ons as foil to the idealised D. O fails to recognise the diﬀerence between her and D, which reveals the way all women are treated with suspicion in the play. Name symbolises whiteness, innocence and purity, in spite of her role which embodies inverse.

Key concepts and the play’s arguments. Sexual Anxiety, Fear and Disgust

The play is both fascinated and disgusted by the spectacle of sexuality. Deferral charivari in I:I. O subs6tutes war for love (Mars v Venus,) but war is also deferred. O cannot comprehend that D could love him as a real human being, with contradic6ons & complexi6es, rather than a pure, inviolable hero with Desdemona hungry for his heroic stories, rather than him.

The unstable nature of the self

The unstable nature of the self. Shakespeare suggests that our sense of self is a mental and social construct and that an "essen6al," inner I is nothing more than a construct that is oAen the source of self-‐delusion. This is evident in the ways these constructs are at the source of each of the characters’ downfalls.

Human vulnerability to manipulaBon

The play seems to argue for the righteousness of noble human abstrac6ons, like love, honour, virtue, whilst revealing the ways in which they invite vulnerability. It is because of these abstrac6ons that Othello is able to prey on the self-‐delusions of a range of characters in ways that bring them all to ruin. He convinces Cassio that he is too severe a “moraler,” his persuasion of Braban6o takes advantage of his decep6ve sense of nobility. He takes advantage of the unconscious ways in which people want to see the world and corrodes their own personal vision.

ContrasBng forms of love and passion

Desdemona and Othello embody the contrast between youthful, febrile passion and an elder sense of composure and self-‐restraint. Othello places great value on self-‐control, which he calls "government." Desdemona, on the other hand, en6rely trusts her feelings. Othello only emo6onally abandons himself when thinks he has lost the woman he loves. The play appears to be warning about the dangers of singular and excessive forms of regula6on.

RelaBonship between happiness and self-‐ decepBon

The play exposes the need for suspicion, whilst, at the same 6me, exposing the way this precludes the possibility of love and happiness. It seems caught between the sense of divine order and its promise of trust, whilst acknowledging the more humanis6c cynicism of thinkers like Machiavelli. Issue of trust speaks to poli6cal anxie6es of the Jacobean era.

Race and cultural conﬂict

Othello’s religion and race are evident throughout, as a bifurcated Chris6anised Moor living in mercan6le Christain Venice. Some have read his ﬁnal scenes as barbarous reversion. The marriage elopement plot has also been read as a geopoli6cal metaphor, equivalent to Venice’s loss of Cyprus to the Turks. The sexual hos6lity and interrup6ons that O and D experience suggests an intense hos6lity to the spectacle of inter-‐racial marriage. Finally, O’s ﬁnal scene and disintegra6on seems to suggest the play is more a parable of the irreconcilable mul6plicity of outsiderliness. The play constructs a Venice where racist discourse is prevalent, but not naturalised. I, R and B share a racist worldview that I exploits, but Desdemona does not. The Duke par6cipates in the discourse of race, but is willing to look past it. Shakespeare presents a world where race and its importance are contested.

Mo7fs and symbols MoBf—sight, blindness & vision: ocular imagery in the play emphasizes unreliability of various “visions.” Desdemona sees beyond visible markers of Othello’s otherness, even though he can’t. Othello, however, demands “ocular proof”, but is convinced by unreliable “evidence” whilst Emilia cannot figura4vely “see” the evil nature of Iago. This mo4f represents the way in which judgment itself is unreliable. MoBf – “honesty”: Empson traces 52 uses of mo4f. It can mean: chas4ty, truth telling, good friendship. These meanings combine ironically, at 4mes: I uses lies to convince O that D is sexually dishonest, whilst pretending to be looking out for a friend. Its polyvalency is marker of unreliability of judgment. MoBf—Plants and vegetaBon: Iago’s speech liWered with vegetable metaphors. Behaviour of others seems driven by inevitable natural force (self-‐decep4on) which grows if leY unchecked. Iago understands these forces best and takes advantage of them. His plots consume other characters and ease with which his “seeds” are planted reveals minds as fer4le ground for decep4ons and suspicion. MoBf – Animals, beasts & monsters: func4ons as marker for “civiliza4on” in binary terms, esp. by Vene4ans. Bes4ality of sexual imagery reveals hos4lity of Vene4ans when norms are transgressed. O’s rela4onship with D is the central “transgression”. O internalises social codes and understands his iden4ty and race on these borrowed terms. Monstrous imagery is grotesque extension. Symbol – the handkerchief: represents flawed nature of compe4ng “visions” through its polyvalency. Diff ways characters view symbol reveals flaws. For D, its symbol of O’s love ; I manips O to see it as a symbol of D herself; its importance to I and D result of its importance to O, who originally sees it as a guarantee of both chas4ty and virginity (red of strawbs=blood). Symbol – the song “Willow”: symbolises the guaranteed and perpetuated nature of jealousy and infidelity. To D is represents a melancholy resigna4on to her aliena4on from O. Symbol – the candle: represents the fragility of D’s life in the midst of a barrage of hos4li4es.

Cri7cal approaches 17th C: Thomas Rymer (!693) A Short View of Tragedy A largely nega4ve reading of the play labeling O a “joyless booby” and cri4cism of the I character for being “too evil to be believed.” Perspec4ve resorted to racist ideology by describing the play as a warning about marrying outside race. Late 18th : Dr Johnson saw the play in posi4ve terms and Othello as an earnest, limited, true tragic hero. He iden4ﬁed in Iago a cool malignity and saw Desdemona as innocent and unconscious of the suspicions of O. Early 19th C: ST Coleridge Iago demonstrates “mo4veless malignity” and insisted on seeing O as a noble, chivalrous Moorish chief, rather than a “Negro.” O is not jealous and places D on a pedestal and anything other than perfec4on is unthinkable and intolerable. William Hazlia sees I as a diseased intellectual with total indiﬀerence to morality.

Early 20th C: AC Bradley rescued O as a tragic hero, claiming his speeches as the most poe4c of all Shakespearean heroes. He defends O as a vic4m of I’s irresis4ble force, going against the grain of racist reading of inner-‐savagery. Mid 20th C: F. R Leavis (New Crit) ignoring context and authorial intent, believed lit offered values and order lacking in society and was self sufficient. He argued O destroyed by own ego4sm and I an externalisa4on of O’s faults. Recent readings: Race -‐-‐ Germaine Greer -‐-‐ sees Iago as an objec4ve correla4ve of the mindless inven4veness of racist aggression. Feminist readings have tended to stress the patriarchal fear of female sexuality and to de-‐essen4alize the archetypal readings of D as embodying purity or virtue. Karen Newman: has focussed on D, and explained how she experiences the standard punishment for deceiving, sexually-‐empowered women, but her love for O is noble and transgresses social norms Poli7cal readings: emphasise the need for a focus on the power structures of the context that impact on the play. Jonathan Dollimore argues that Jacobean Drama reflects social anxie4es, especially the conflict between The Divine Right of Kings and the cynical humanism of Machiavelli. Power structures aWempt to make the poli4cal, social and spiritual metaphysical.

K M cCabe 2 016

Context

NEUTRAL TONES by Thomas H ardy (1840-‐1928) Thomas H ardy was a Victorian novelist and poet. Much of his poetry is autobiographical, about his relationships and the failure of his relationships. He famously wrote a great deal of his poetry about his first wife, Emma, who he became estranged from, and mourned her death for the rest of his life. Neutral Tones, however, was written about a previous relationship that did not last. H ardy was influenced by the Romantic poets.

THEMES: q Pain, Loss, D eath q Bitterness, Anger q Nature

COMPARE WITH: q Winter Swans q When We Two Parted q Farmer’s Bride

The title ‘neutral’ suggests something w ithout w armth, cold and emotionless. It is the opposite of colourful. Stanza 1: The poem begins by setting the scene w ith a pathetic fallacy. The combination of the pond, winter and w hite sun create a cold and bleak landscape. In addition, there is a sense of everything dying -‐ the falling leaves, the ‘starving sod’ –natural elements, once fertile and alive and struggling to survive – symbolic of the couple’s relationship. Stanza 2: S he doesn't look at him directly and hold his gaze, but instead her eyes ‘rove’ – moving constantly, w andering w ithout fixing on him. He imagines that, as she focuses on everything but him, she is thinking over ‘tedious riddles of years ago’. This oxymoron creates rich imagery about the frustrations that are part of their relationship. Tedious suggest dull, repetitive and riddles is something that is a challenging puzzle – both fun and infuriating. These riddles, unresolved arguments have continued to plague them for years. There is no solution. Stanza 3: This stanza starts with another strong contrast, this time the juxtaposition of her smile being ‘the deadest thing’ . This image is further extended with her ‘grin of bitterness’. What seems to be m ost painful for Hardy is that she once did smile w ith w armth and love at him, as it w as once ‘alive enough to have the strength to die’ . This smile, that turned to a grin of bitterness, should have been his ‘ominous’ w arning that the relationship w as doomed. Stanza 4: This stanza shows a change in his emotion. In recalling some of the details of the day, the language has become increasingly powerful and bitter. Hardy acknowledges that he felt ‘deceived’ by love, in particular, this relationship. The sun has changed from ‘white’ to ‘God-‐curst’ indicating that his feelings are no longer neutral but angry and inflamed. Stanza 4: Wrings w ith w rong alliteration emphasises his anguish. Stanza 4: The irregular rhythm of the final stanza created by the m ix of enjambment and caesura shows that Hardy begins to be overwhelmed w ith feelings of anger. However, as soon as this appears, it quickly dissipates. The anger fades using repetition of ‘and’ – Hardy lists the bleak elements of the scene that day that he associates w ith the futile and empty relationship. Hardy returns to his melancholic, sombre state, gazing at the pond, returning to the beginning. Like B yron, he too is caught in a emotional cycle that he cannot m ove out of.

Organised Notes

NEUTRAL TONES

SUMMARISE IT:

Neutral Tones is a poem about a painful m emory, close to the end of a relationship. It is told from the viewpoint of the poet and has a bitter and resentful tone.

How are the themes portrayed?

The poem is structured in 4 regular quatrains. This suggests highly reflective controlled thought, as if he been replaying the m emory m any times over. The poem has a circular structure, ending w here it began, beside the pond. This reveals Hardy’s inability to m ove forward from this memory as the pain is still too raw. Colour is a central m otif in the poem. This is indicated clearly in the title, but colour also features throughout the poem. The colour begins as white and gray, and changes to G od-‐Curst ( suggesting and angry, red, inflamed S un). The poem ends w ith the repetition of the colour gray, showing that he is left again w ith unresolved emotion. The poem uses a semantic field of death and lifelessness. Imagery suggesting death appears throughout the poem – the ground is starving, the leaves are grey and have fallen from the trees, the smile is dead etc.

What is the ‘Journey’ of the poem?

The poem uses a series of opposites to present the relationship. The poem is full of juxtaposition and oxymoron. Where there should be love, there is coldness, w here there should be intimacy between them, there is ‘wandering’, w here there should be w armth and genuine emotion, there is a forced grin, deception and frustration. Bitter

Pathetic fallacy

Oxymoron

Ominous

Anguish

Dissipates

Resentful

Futility

Unresolved

Doomed

Inflamed

Melancholic

Infuriating

Plague

Fertile

Bleak

Irregular

Sombre

5 KEY QUOTES:

Context

WINTER SWANS By Owen Sheers (1974 -‐ ) Owen Sheers is a Welsh poet born in 1974, so Winter Swans is a contemporary poem. Much of Sheers’ poetry draws upon natural landscapes. This poem was taken from a collection called Skirrid H ill. This can be literally translated as ‘shattered mountain’. The word Skirrid in Welsh can also be interpreted as ‘divorce’ or separate’.

THEMES: q q q q

Distance Nature Anger, B itterness Reconciliation

COMPARE WITH: q q q q

Neutral Tones Letters From Yorkshire Singh Song Sonnet 29

The title shows that the S wans are the central characters in this poem, rather than the couple. Stanza 1: The poem begins w ith the personification of the clouds The clouds had given their all. This is pathetic fallacy, setting the stormy, turbulent scene, and m etaphorically represents the couple who have also ’given their all’. The break in the rain gives the couple the opportunity to w alk, exhausted from the energy used over the previous 2 days arguing. Stanza 1: It is useful to note here that the poet refers to himself and his partner as ‘we’. We, us and our are used throughout the poem w hich indicates that despite their difficulties, they are still very much together and a couple. Stanza 2: Continues with m ore personification – the earth ‘gulping for breath’. G ulping has connotations of something struggling to survive. In addition, the ‘waterlogged’ earth is unstable and not solid, just like the couple’s relationship at this time. Stanza 2: the couple ’skirt’ the lake. The verb ‘to skirt’ is often used w ith ‘around’ ( to skirt around something, usually a problem or an issue) . The couple are forced to skirt around the lake as they cannot physically cross it, but they are also skirting around their problems in silence. Stanza 3: This m arks a change in tone after the arrival of the swans. They distract the couple with a ‘show’, and are perfectly united. Stanza 4: There are several images in this stanza w hich seem to refer to solid, strong foundations. The ‘iceberg of w hite feather’ suggests that there is m ore to the couple than surface problems, likewise, the boats ‘righting in rough w eather’ have stable bottoms and w ill find their w ay upright. Stanza 1-‐5: Many of the sounds are consonant sounds, showing the tension in their relationship through harsh sounds. Stanza 5: The silence is broken by direct speech and m arks the beginning of the couple communicating and resolving their issues. Stanza 5: A metaphor is used to liken the swans to ‘porcelain’ a fine china. This symbolises the couple – delicate and in need of protection, but strong. Stanza 5: Light begins to enter the scene – ‘The afternoon light’ Stanza 6: Sibilance is used to show a change in their emotions as their hands m ove towards each other. The sibilant sounds are soft. Stanza 7: A simile compares their hands to w ings settling after flight. The couple are reunited and reconciled.

Organised Notes

WINTER SWANS

SUMMARISE IT:

The poem focuses on a couple experiencing conflict and difficulty in their relationship. It is told from the viewpoint of one of the couple, m ost likely the m an. It begins w ith a tense m ood. This changes to a reflective and tranquil atmosphere, after the couple observe the actions of a pair of swans. The swans m etaphorically m irror the couple.

How are the themes portrayed?

The poem is structured in 6 irregular tercets and a final couplet. The line lengths are uneven and there is no rhyme. This emphasises the disjointedness and disharmony of the couple. However, after the moment of reconciliation in the poem, the final stanza is a couplet. This could be symbolic of the couple beginning to come back together again. The poem uses nature to explore feelings. The poem begins in a cold and turbulent setting. This represents the couple and their conflict. The swans teach the couple to reflect on their own behaviour towards each other, and as a result their behaviour changes – the light comes, the earth begins to firm (from w aterlogged to shingle and sand) and they reunite. The couple are only temporarily troubled. Unlike some of the other relationships in the anthology, the couple in Winter S wans still love each other. They are frustrated and experiencing disharmony, but still consider themselves unified (we, us, our). Essentially, like the swans they have strong foundations and the storm w ill pass (boats, iceberg, porcelain.)

What is the ‘Journey’ of the poem?

Tercet

Disharmony

Disjointedness

Pathetic Fallacy

Simile

United / Unified

Couplet

Tranquil

Reconciliation

Sibilance

Reunited

Tension

Personification

Turbulent

Distract

Porcelain

Consonance

Foundations

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

WINTER SWANS By Owen Sheers

The clouds had given their all – two days of rain and then a break in w hich w e w alked, the w aterlogged earth gulping for breath at our feet as w e skirted the lake, silent and apart, until the swans came and stopped us with a show of tipping in unison. As if rolling w eights down their bodies to their heads they halved themselves in the dark water, icebergs of w hite feather, paused before returning again like boats righting in rough w eather. ‘They m ate for life’ you said as they left, porcelain over the stilling w ater. I didn’t reply but as w e m oved on through the afternoon light, slow-‐stepping in the lake’s shingle and sand, I noticed our hands, that had, somehow, swum the distance between us and folded, one over the other, like a pair of w ings settling after flight

HAVE YOU NOTICED: Enjambment Personification Consonance Sibilance Caesura Simile Pathetic Fallacy Metaphor QUESTIONS: 1. 2. 3.

How does the poet present conflict in the relationship in this and one other poem of your choice? Explore the u se o f n ature in this poem and one other poem of your choice. ‘Winter Swans is a poem about a couple who, despite problems, are still deeply in love’. Using this and one other poem of your choice, state to what extent you K M cCabe 2 016 14 think this is true.

Context

SINGH SONG By D aljit Nagra (1966 -‐ ) Nagra is the son of Indian parents who moved to the UK in the 1950’s. His family opened a corner shop when they moved to Sheffield. H e wanted to use the dialect of the Indian language as he felt it had often been made fun of. The poem highlights the merging of two cultures, as well as the love between a man and his new bride.

THEMES: q Joy, R omantic Love q Family Bonds q Conflict

COMPARE WITH: q I Think of Thee q Porphyria’s Lover q Winter Swans

The title i s a pun and play on words -‐ ‘sing song’ means harmonious and melodic. Singh i s an Indian name that was used by Sikh c ommunities, and i s the surname of the shopkeeper ‘Singh, where you b een?’ . This helps to set the l ight tone of the poem and l ocate i t within a specific c ultural c ommunity. This i s Mr Singh’s song.

Stanza 1: The poem opens in strong dialect to create a vivid image of the narrator. He complains of pressures from his family to continue the tradition of w orking hard in the family shop. His father is obviously successful ‘one ov my daddy’s shops’ and it could be argued that S ingh w ants to honour his father ‘daddy’. However, he disobeys him by locking the shop w hen nobody is in to be w ith his w ife. Stanza 2: His new bride w aits for him upstairs and he is in the honeymoon phase of lust & excitement. Stanza 3: Introduces the customers voices, ‘di shoppers always point and cry’ w ho are also complaining about the tidiness of his shop and quality of the goods. Stanza 4: His focus returns in stanza 4 to his w ife, she dominates his every thought. We begin to get a glimpse of the w oman w ho has him so rapt. S he is busy on the internet, ’netting two cat on her Sikh lover site’. It is slightly ambiguous but suggests that she runs a dating site for S ikh m en. Stanza 5 – 7: The following 3 stanzas create a detailed picture of the w ife. S he is rebellious and irreverent. S he does not abide by the traditions of respecting her elders. S he swears at her husband’s mother, m akes fun of his father. Her dress m erges B ritish and S ikh cultures, m ixing Punk dress w ith traditional sari and pumps. Her appearance is not conventionally feminine w ith a ‘red crew cut’ and ‘donkey jacket’. We have the impression of a domineering woman w ith the metaphor ‘tiny eyes ov a gun’ for w hom, all he feels is love -‐ ‘tummy ov a teddy’. The repetition ‘My bride’ w ith assonant sounds sounds like a loving and longing sigh, juxtaposing the description he has just given of her. Stanza 8: R eturns to the chorus, reiterating his devotion to her that is distracting him from his w ork. Stanza 9: Moves the action forward to the evening, when the shop is shut. The language choices here convey magic, fun and excitement, like children ‘midnight hour, w hispering stairs, silver, chocolate bars, brightey* moon’. There is something joyous, innocent and exciting about the love he feels for his w ife. *Nagra has also stated that he used B rightey to sound like ‘Blighty’, and Indian nickname for Britain ( see further resources at the back for the link to Nagra’s discussion of the poem). Stanza 10: The repetition shows an ongoing routine that has become their special time away from the pressures and demands of both w ork and family. His love for his w ife is m ade explicit and he states she is ‘priceless’.

Organised Notes

SINGH SONG

SUMMARISE IT:

Singh S ong is the story of a recently m arried Indian shopkeeper, who would rather spend all of his time w ith his new w ife, than honouring his father, running the family business. It is w ritten in the persona of the Mr Singh, the shopkeeper and has a joyous, uplifting and romantic tone, despite the conflict that being newly m arried has created.

How are the themes portrayed?

The poem is irregular in terms of stanzas and uses a number of different stanza forms. These play w ith various conventions of poetry such as nursery rhymes, rhyming couplets and song lyrics. The poem uses both rhyme and half-‐rhyme and has a lyrical, melodious quality. The repetition of the chorus creates both the song like quality, but also emphasises the repetitiveness of the w ork that he does, the conflict he feels between work, family and love. Despite the conflict in the relationship, the speaker loves his w ife. He is indifferent to the complaints of the customers and focused only on being with his w ife. The description he gives of her is of a domineering w oman eyes ov a gun, w ho dresses in a m asculine, aggressive w ay. S he is also a cunning and shrewd businesswoman. He loves her and is blind to how she m ay appear to others. F inally, he refers, in an almost joking w ay, to her interactions w ith his m other and father, giving no comment or criticism. S ingh is dealing w ith conflict on a number of levels -‐ family, work and culture.

What is the ‘Journey’ of the poem?

The poem is full of positive, bright and childlike language. The poem is full of bright colours (lemon, lime, red, silver) Mr Singh, although an adult, has the status of a child in the family and so responds like one, with a lack of responsibility, rebellious nature and simplistic childlike, romantic responses (teddy, pinching my sweeties). Pun

Rapt

Punk

Assonant

Devotion

Lyrical

Disobeys

Rebellious

Conventional

indifferent

Romantic

Melodious

Dominates

Irreverent

Domineering

Reiterating

Culture Clash

Conflict

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

SINGH SONG

By Daljit Nagra

I run j ust one ov my daddy's shops from 9 o'clock to 9 o'clock and he vunt me not to hav a break but ven nobody i n, I do di l ock – cos up di stairs i s my newly bride vee share in c hapatti vee share in di c hutney after vee hav made luv like vee rowing through Putney – Ven I return vid my pinnie untied di shoppers always point and c ry: Hey Singh, ver yoo b in? Yor l emons a re l imes yor b ananas a re p lantain, dis d irty l ittle floor n eed a l ittle b it o f mop in d i worst Indian shop on d i whole Indian road -‐ Above my head high heel tap di ground as my vife on di web is playing wid di mouse ven she netting two c at on her Sikh l over site she book dem for di meat at di c heese ov her price – my bride she effing at my mum in all di c olours of Punjabi den stumble l ike a drunk making fun at my daddy

my bride tiny eyes ov a gun and di tummy ov a teddy my bride she hav a red c rew cut and she wear a Tartan sari a donkey jacket and some pumps on di squeak ov di girls dat are pinching my sweeties – Ven I return from di tickle ov my bride di shoppers always point and c ry: Hey Singh, ver yoo b in? Di milk i s o ut o v d ate and d i b read i s a lvays stale, di tings yoo h av o n o ffer yoo h av n ever g ot i n stock in d i worst Indian shop K rMoad cCabe on d i whole Indian – 2 016

Continued

CLEAN COPY ANNOTATION: Annotate the poem from memory

SINGH SONG

By Daljit Nagra

Late in di midnight hour ven yoo shoppers are wrap up quiet ven di precinct i s c oncrete-‐c ool vee cum down whispering stairs and sit on my silver stool, from behind di c hocolate bars vee stare past di half-price window signs at di beaches ov di UK in di brightey moon – from di stool each night she s ay, How much do yoo charge for dat moon baby? from di stool each night I say, Is half di cost ov yoo baby, from di stool each night she s ay, How much does dat come to baby? from di stool each night I say, Is priceless baby -

HAVE YOU NOTICED: Enjambment Semantic field Caesura Repetition

Juxtaposition Metaphor

QUESTIONS: 1. 2. 3.

Compare how the poet presents feelings o f love this and one other poem of your choice. How does the poet convey family bonds in this and one other poem of your choice. Compare how poets present attitudes towards conflict in relationships in this and one other poem of your choice. K M cCabe 2 016

Context

LOVE’S PHILOSOPHY By Percy Shelley (1792 – 1822) A Romantic poet, who was a well known atheist in an age when many people engaged in religious practices – going to church, respect for religious beliefs etc. Shelley was expelled from Oxford for his views. H e had scandalous relationships, and is best known for his marriage to Mary Shelley, author of F rankenstein and friendship with Lord Byron. H e drowned at the age of 29 .

THEMES: q q q q

Joy, Passion Desire , Longing Nature Unrequited Love

COMPARE WITH: q q q q

Farmer’s Bride When We Two Parted Sonnet 2 9 I Think of Thee Letters from Y orkshire

The title suggests there is a higher knowledge or w isdom about love than the thoughts and feelings of individual people, as though there are generally accepted, logical, unwritten laws about love. Shelley is suggesting that w e are governed by these natural instincts. Stanza 1: The poet takes a range of powerful natural elements, ‘fountains, rivers, oceans, w ind’ and personifies them. This aims to draw a sharp parallel between the actions of nature and the couple. Shelley uses the structure of traditional logical argument to draw a comparison between nature and his relationship ( If x + y = xy then you + m e = ) He argues that all nature ’mingles’, there is no separating the individual elements as they both join and are created from each other. If his loved one accepts this philosophy of nature, then she cannot deny that they too should ‘mingle’ and ‘mix’ and m ake their relationship m ore physical, even if it is to simply share a kiss. Stanza 1: S helley calls on the ‘law divine’, a clear religious reference to m ake his point even m ore persuasive and strong. As a known Atheist, S helley w ould use any m eans to w in his argument. In an ironic w ay he is using typical m otifs & symbols of romantic love to suggest his intentions & desires are natural and pure, so that he m ay w in the opportunity to seduce her into a physical relationship. Stanza 2: S tarts w ith an imperative ‘See’ to suggest he is becoming slightly m ore impatient w ith her reluctance and restraint. This is also shown w ith the m ove from gentle verbs ‘mix’ and ‘mingle’ to ‘clasp’, m eaning grip or hold tightly, conveying the sense of a m ore urgent and forceful desire. Stanza 2: He continues using religious imagery, again a powerful appeal to the young lady, stating that the m ountains ‘kiss high heaven’. Stanza 2: S helley then uses an emotionally manipulative appeal, claiming that no ’sister-‐flower’ (symbolising the lady) ‘would be forgiven if it disdained its brother’ ( symbolisng S helley). This is designed to m ake the lady feel guilty for rejecting his advances. Stanza 2: Throughout this stanza repetition of ‘And’ is used. This has a listing effect, as if S helley is presenting reason after reason w hy the w oman should succumb to his w ishes. Stanza 2: In the final lines ‘the sweet w ork’ that S helley refers to is the w ork of G od. He implies that the lady is directly responsible for m aking the ‘mingling’ of the natural w orld m eaningless by refusing him ‘If thou kiss not me?’. Stanza 2: F inishing the poem on another rhetorical question, S helley has constructed a strong argument to w in her affection, in w hich she is unable to provide a reasonable defence.

Organised Notes

LOVE’S PHILOSOPHY

The poem is an romantic plea to persuade a young lady to succumb to physical desire and kiss the m an. It is told from the viewpoint of the m ale and addresses the lady directly. It has a light & joyously passionate tone.

SUMMARISE IT: How are the themes portrayed?

The poem has both a regular structure and regular rhyme scheme. This indicates a highly reflective and considered line of thought. The two stanzas follow a similar pattern w hich begins w ith m ultiple examples to persuade the young lady, finishing w ith a rhetorical question. The rhyme scheme m ixes m asculine rhyme ( single final syllable rhyme) w ith feminine rhyme ( two syllable rhyme), further enhancing his ‘philosophy’ that masculine and feminine should mix and mingle. The poem is w ritten in simple language, typical of the R omantic poets. This simplicity echoes the simplicity and purity S helley is alluding to w ith his passionate intentions & desire. F inally, S helley’s use of punctuation throughout the poem is also significant. Each stanza represents a single long sentence punctuated with colons and semi-‐colons. This structure shows in an almost child-‐like w ay, Shelley’s persistence in the quest for his love. The poem uses a strong semantic field of nature. This is the central conceit of the poem -‐ the argument that in the same w ay natural elements m ix, humans are designed to behave in a similar w ay. Nature is also a typical R omantic m otif, w ith S helley focusing the lady’s attention on the m ost beautiful natural elements to appeal to her. Nature is personified, creating a sharp parallel between the purity of the natural world and the purity of their love. Likewise, her restraint and rejection is seen as unnatural and unforgivable.

What is the ‘Journey’ of the poem?

The religious imagery is powerful. This reinforces the sense that her submission to him is m orally right and virtuous. S helley’s position as an Atheist enables us to interpret this as something slightly m ore manipulative and unscrupulous. It seems ironic and that, as a passionate lover, he w ould be prepared to say anything in his quest for a kiss. Conceit

Irony

Restraint

Rejecting

Succumb

Quest

Logic

Imperative

Appeal

Atheist

Manipulative

Parallel

Unscrupulous

Implies

Personifies

Plea

Persistence

Seduce

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

LOVE’S PHILOSOPHY by Percy B ysshe Shelley

The fountains mingle with the river And the rivers with the ocean, The winds of heaven mix for ever With a sweet emotion; Nothing in the world is single; All things by a law divine In one spirit meet and mingle. Why not I with thine?— See the mountains kiss high heaven And the waves clasp one another; No sister-‐flower would be forgiven If it disdained its brother; And the sunlight clasps the earth And the moonbeams kiss the sea: What is all this sweet work worth If thou kiss not me?

HAVE YOU NOTICED: Metaphor Semantic field Personification Imperative

Repetition Rhetorical Question

QUESTIONS: 1. 2. 3.

How does the poet convey feelings of love and longing in this and one other poem of your choice? To what extent does this poem deal with u nwanted love? Compare with one other poem of your choice. How does the setting o f n ature allow the poet to explore feelings of love in this and one other poem of your choice? K M cCabe 2 016

Context

THE FARMER’S BRIDE By Charlotte Mew (1869 – 1928) Mew was a Victorian poet, who had a hard upbringing in poverty. Many of her family suffered mental health problems and she was terrified of experiencing the same difficulties. H er poems were often told using a male persona, who were social outcasts. She was recognised as a great talent by many poets in her day, including Thomas H ardy (Neutral Tones). The F armer’s Bride symbolises several different elements such as women in society in the Victorian age, the natural world vs industrialization and desire over fear.

THEMES: q q q q

Pain, Loss, D eath Desire, Longing Nature Unrequited Love

COMPARE WITH: q Porphyria’s Lover q When We Two Parted q Neutral Tones

In this poem, the Farmer is the speaker and the focus of the poem i s his bride, referred to i n the title.

Stanza 1: The poem begins w ith a time reference that is immediately unnerving w hen considering the nameless girl. It has been ’three years’ since she m arried and yet she is still referred to as the bride. This suggests that in all that time there has been no acceptance of her role, m oving towards becoming a w ife, rather she remains a bride. Stanza 1: The F armer’s attitude is clear as he acknowledge that she w as ‘too young’ but he has m ore important things to do than ‘bide and w oo’. He is a practical and hard-‐working m an, unable and reluctant to deal w ith the complexities of human emotion. Stanza 1: The impact of the w edding on the young girl is apparent from the w edding day – ‘she turned afraid’ and became ‘like the shut of a w inter's day’ ‘Her smile w ent out’. The w inter image emphasises the cold, numb emotional state of the girl. The reader is only given clues about the girl as she is voiceless throughout. That she smiled, implies that before she w as chosen as a bride ( again ‘chosen’ highlights the lack of her choice – something being done to her) she w as a happy, young lady. Stanza 1: The girl is likened to a ‘frightened fay’ (fairy). This dehumanises her, m aking her human emotions alien, inexplicable and unaccounted for – the F armer m akes no effort to understand the girl. Stanza 1: The last line of S tanza 1 is shocking ‘One night, in the F all, she runned away’, and gives a further clue about her deep unhappiness. The simplistic grammatical structure of ‘runned’ conveys the simplicity of the F armer, and how poorly equipped he is to deal w ith how withdrawn and traumatized the girl is from the m arriage. Stanza 2: The reference to ’They’, the villagers, and their support for the F armer by revealing her location, highlights her isolation and low status, low power. In addition, the farmer remembers how ‘we’ chased her, again emphasising the girl as different and separate to the villagers. Stanza 2: The girl is described, using a simile, as ‘like a hare’. S he is reduced to an animal, prey being hunted by the m an and his helpers, until she is eventually ‘caught’ ‘fetched home’ and locked in a room. Stanza 3: Provides some light relief in the life of the girl. The stanza shows her carrying out m enial household tasks ‘like a mouse’, comfortable in the presence of animals – birds and rabbits, but still terrified of the farmer. Again the use of a plural pronoun ‘Us’ sounds threatening, as if the girl feels frequently vulnerable in her interactions w ith others.

Stanza 3: The reference to the ‘women’ further disconnects the girl from others, she has no links to other people, but is frequently linked to the natural and animal w orld. The w omen ‘say’ and discuss the girl implying that she is an oddity, someone w hose behaviour is gossiped about by others. Stanza 4: A short 4 line stanza in w hich the F armer begins to express his feelings of rejection. Four similes are used comparing the girl to natural elements -‐ a young hare, a young tree and w ild violets – each vulnerable, not fully m atured, and w ithout adult strength. The use of sibilance in this stanza suggests an almost w hispered description of the girl, as he attempts to control his feelings. Stanza 5: S hows the inevitable changes that occur in the natural w orld. The season begins to turn towards w inter. This pathetic fallacy suggests something dying, perhaps the F armer’s patience and gentleness, and are a foreboding glimpse of the future. The F armer feels the need for children and his frustration w ith the situation is clear. The colours of this stanza become darker ‘brown, blue, grey, black, red’, symbolising a dark time approaching. Stanza 6: Continues w ith the sense of foreboding. S he is in the attic, as physically far from the F armer as she could be. The repetition used in the final stanza to describe her physical features ‘down, brown, hair’ expose his inability to control his desires and emotions for m uch longer. The caesura in these lines suggest he is being flooded w ith images of her. The exclamation m arks show he is becoming increasingly emotional and is losing control.

K M cCabe 2 016

Organised Notes

THE FARMER’S BRIDE

SUMMARISE IT: How are the themes portrayed?

The poem is the story of a young w oman taken as a bride for a F armer and her unhappiness that follows. It is told from the viewpoint of the Farmer and the young bride remains voiceless throughout. It has an unnerving tone. The structure of the poem is irregular in stanza length but there is a strong rhyme scheme, though this too, does not have a clear pattern. The irregularity of the stanzas suggests that something is not right about the relationship between the F armer and his bride, that there is a sense of imbalance. It also highlights the F armer’s inability to control his thoughts as the structure becomes increasingly irregular towards the end. The poem uses natural and animal imagery to portray the girl. The farmer understands nature but he doesn’t understand emotions and women. He recognises her vulnerability but he has a functional relationship w ith nature, it is profitable and helps him earn his living. In the same w ay, the young girl’s role is to provide him w ith children. This could be Mew’s criticism of the increasing industrialization of the countryside – that it w as being used for purpose, w ithout protecting its fragile beauty, in the same w ay the young girl is used by the farmer. In addition, the natural w orld changes throughout the poem, m oving through seasons. Like nature, the situation the girl finds herself in cannot stay fixed forever, there is an underlying ominous sense of inevitable change.

What is the ‘Journey’ of the poem?

The poem clearly exposes relationships between m en and w omen. The girl is voiceless and powerless and nameless – simply a possession of the F armer. Their home is a microcosm of the role of w omen in society at the time. The girl has freedom taken away from her, completes m undane tasks and is expected to bear children. The m en, by contrast, are active, and in control. The poem could also be a comment on the treatment of those w ho are emotionally vulnerable and unstable in society. The girl w as happy before the relationship but the m arriage causes a deep trauma as she becomes w ithdrawn and isolated. It is clear her behaviour is seen as odd, due to the references to others – the villagers. Complexity

Isolation

Dehumanizes

Traumatised

Oddity

Inevitable

Voiceless

Prey

Plural Pronouns

Vulnerable

Unnerving

Microcosm

Inexplicable

Withdrawn

Isolation

Disconnect

Foreboding

Rejection

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

THE FARMER’S BRIDE

By Charlotte Mew

Three summers since I chose a m aid, Too young maybe—but m ore’s to do At harvest-‐time than bide and w oo. When us w as w ed she turned afraid Of love and m e and all things human; Like the shut of a w inter’s day Her smile w ent out, and ’twadn’t a w oman— More like a little frightened fay. One night, in the F all, she runned away. “Out ’mong the sheep, her be,” they said, ’Should properly have been abed; But sure enough she w adn’t there Lying awake w ith her w ide brown stare. So over seven-‐acre field and up-‐along across the down We chased her, flying like a hare Before out lanterns. To Church-‐Town All in a shiver and a scare We caught her, fetched her home at last And turned the key upon her, fast. She does the w ork about the house As w ell as m ost, but like a m ouse: Happy enough to chat and play With birds and rabbits and such as they, So long as m en-‐folk keep away. “Not near, not near!” her eyes beseech When one of us comes w ithin reach. The w omen say that beasts in stall Look round like children at her call. I’ve hardly heard her speak at all.

Continued

K M cCabe 2 016

CLEAN COPY ANNOTATION: Annotate the poem from memory

THE FARMER’S BRIDE

By Charlotte Mew

Shy as a leveret, swift as he, Straight and slight as a young larch tree, Sweet as the first w ild violets, she, To her w ild self. B ut w hat to m e? The short days shorten and the oaks are brown, The blue smoke rises to the low grey sky, One leaf in the still air falls slowly down, A m agpie’s spotted feathers lie On the black earth spread w hite w ith rime, The berries redden up to Christmas-‐time. What’s Christmas-‐time w ithout there be Some other in the house than w e! She sleeps up in the attic there Alone, poor maid. ’Tis but a stair Betwixt us. Oh! m y G od! the down, The soft young down of her, the brown, The brown of her—her eyes, her hair, her hair!

HAVE YOU NOTICED: Enjambment Semantic field Caesura Simile QUESTIONS: 1. 2. 3.

Repetition Colour

How is nature used to explore human relationships in this and one other poem of your choice? Compare the u nhappiness that loss and longing brings in this poem and one other of your choice. Compare what the speaker reveals about h is loved o ne in this poem and one other poem of your choice. K M cCabe 2 016 26

Context

PORPHYRIA’S LOVER By Robert Browning (1812 – 1889) Browning was an important V ictorian poet, who married Elizabeth Barrett Browning (Sonnet 29). The V ictorian Era was known for its sense of morality, the line between public respectability and private behaviour, religious beliefs and attitudes to women. Browning admired the Romantic poets, but was most successful when he found his own unique style. He became known for dramatic monologues, often voiced by dark personas. Porphyria’s Lover was part of a 2 poem c ollection called ‘Madhouse Cells’, with the second poem also about a disturbed man. Porphyria translates as purple (colour), which is often associated with royalty and could be a c lue to the difficulties faced by the lovers.

THEMES: q q q q

Secret Love Pain, Death Desire , Longing, Obsession Unrequited Love

COMPARE WITH: q q q q

Farmer’s Bride When We Two Parted Sonnet 2 9 I Think of Thee Neutral Tones

The title is often overlooked and w as adapted by Browning 30 years after being w ritten, changing it from Porphyria to Porphyria’s Lover. Whilst Porphyria is named in the title, the poem is about her lover, the m an, and is told from his point of view. However, Browning, in the persona of the m an, is cleverly and frustratingly ambiguous. Additionally, the use of the w ord ‘lover’ suggests a sexual and possibly illicit love affair, one that is not approved by others for w hatever reason. There is an implicit sense of Porphyria’s guilt in the title. The poem begins w ith pathetic fallacy of a stormy setting, to foreshadow later events. The ‘sullen’ wind is personified and appears spiteful and m ischievous, doing ‘its w orst to vex the lake’. Despite the violence of the storm, the rural setting is also a Victorian romantic ideal, beautiful and simple, which lulls the reader into a false sense of security. The m an sits ‘with heart fit to break’ though there is not indication w hy. This is the beginning of the ambiguity. It could be from excitement as he w aits for Porphyria, it could be w ith grief or anger. Whatever, B rowning intended this as dramatic irony so that the reader knows, in the stormy setting, the m an is w aiting, full of emotion, building tension. This irony is increased w ith the entrance of Porphyria, ‘gliding’, oblivious to the m an’s emotional state. Porphyria’s impact on the scene is immediate, shutting out the ‘cold’ and the ‘storm’ and m aking the ’cheerless grate blaze up’. S he epitomises warmth and comfort. S he is noticeably active and dominant in the opening of the poem, she tends to the cottage, tends to herself and then to the man, w hilst he sits passively observing. The m an comments on her ‘soiled gloves’. This conveys an image of something dirty, damaged and unclean, a possible indication of how he views Porphyria. The m an continues to be silent, simply observing Porphyria. ’When no voice replied’ she begins to appeal for attention ‘making her w hite shoulder bare’, and ‘murmuring how she loved’ him. His passive, emotionless study of her builds tension, knowing how his ‘heart w as fit to break’. He then describes her as ‘too w eak’, the first clear subjective comment. His view is that she does not have strength, despite ‘her heart’s endeavor, To set its struggling passion free from pride.’ Porphyria is content to be a ‘lover’, hence the implicit guilt, but not ’dissever’ herself from her ‘vainer ties’ and ‘give herself’ to the m an forever.

‘But passion would sometimes prevail’ Passion is both love and longing as w ell as anger and suffering. This is further ambiguity, and a possible, deliberate pun given the repetition from the ‘passion’ Porphyria feels 3 lines earlier. It is possible that his anger w ould sometimes ‘prevail’ or overcome him. The idea of anger overwhelming him extends to the following line ‘ Nor could to-‐night’s gay feast restrain a sudden thought of one so pale’ . Even his happiness and joy of being w ith her and in her company cannot stop his inner rage and need to possess her fully , a sudden image of the violence he might inflict w ould leave her ‘so pale’ because he is consumed by love for her, w hich he acknowledges in ‘all in vain’ He engages w ith her by ‘looking up at her eyes’, the first m oment of interaction between them, but still silent. He then feels filled w ith love from Porphyria, that he is ‘worshipped’. Again, a passive , dysfunctional love between them. The repetition of ‘mine, mine’ signals the m an’s desire to fix the m oment forever and m ake it last. Juxtaposition is used to show Porphyria’s change from ’soiled’ to ‘perfectly pure and good’. Browning uses anastrophe to reveal the details of her m urder – ‘three times her little throat…’. This is largely used to m aintain the rhyme scheme. However, it also delays the horrific details of the event, finishing in a similar w ay to a periodic sentence w ith the final clause ‘And strangled her.’ This delay makes the m oment m ore shocking. Repetition of ‘pain’ is used as the speaker attempts to convince himself that his deed w as m erciful. The fear the m an feels about his act is likened to the fear of opening a flower w hich holds a bee. The bee, like Porphyria, may be angry and seeking revenge. This is w hat he imagines he m ay see in her eyes. B y contrast, he sees ‘laughing.. blue eyes’ and a ‘blushing cheek’. Porphyria, so active at the beginning, now needs her head ’propped’ up as it ‘droops’. The end of the poem vividly conveys the sense of the speaker as an unreliable and delusional narrator. He talks of her ‘darling one w ish’ being heard allowing them to sit together all night. His final statement to convince himself of the m orality of his actions is his observation that ‘God has not said a w ord’.

K M cCabe 2 016

Organised Notes

PORPHYRIA’S LOVER

The poem deals w ith the fatal m eeting of two lovers. It is a dramatic monologue, told from a first person viewpoint in the persona of the male lover. It has a dark, ambiguous and sinister tone throughout.

SUMMARISE IT: How are the themes portrayed?

The poem is w ritten in a single stanza, typical of a dramatic m onologue. It is highly structured in terms of rhyme and rhythm. This is intended to mirror the highly logical, structured, calm, reasoned m ind of the narrator, making the climax even m ore shocking. The characters are also m irrored in the poem, as the beginning sees an active Porphyria tending to her lover w hilst he is silent and still and ends in reverse, w ith the roles swapped. The poem explores obsessive love. There is a sense of disquiet from the start of the poem w ith the narrator describing his ‘heart’ as being ‘fit to break’. The tension builds from this dramatic irony and all that is left unsaid throughout the poem. B rowning’s narrator does not explicitly voice his feelings and m otivation, instead leaves the audience to pick up clues. It is clear that this is not healthy, reciprocal love as he observes her coldly, refuses to answer her and feels m orally right for committing murder.

What is the ‘Journey’ of the poem?

The poem is full of spoken & unspoken horror. The harmonious, lyrical structure of the poem juxtaposes w ith the sinister events. The use of anastrophe delicately and slowly reveals the shocking murder. The end tableau, rather than a romantic scene, is an image of a cold murderer. Typical of the Victorian Era, the w oman is voiceless. The ‘love’ and ‘relationship’ is shown through the eyes of the m ale. The reader is only able to see her perspective through the eyes of the unreliable male narrator. Likewise the actions of the narrator after the m urder m ake his delusions clear. Natural imagery is used to convey human emotion. The references to the natural w orld are violent and powerful. The opening scene foreshadows the dark tense atmosphere ahead. The storm tears down trees for fun/spite showing its power and control. The m an also describes the w oman like a ‘bee’, angry and looking for revenge. Fatal

Sinister

Passive

Anastrophe

Oblivious

Implicit

Dramatic monologue

Ambiguous

Delusional

Reciprocal

Epitomises

Pun

Persona

Dominant

Unreliable narrator

Dramatic irony

Emotionless

Dysfunctional

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

PORPHYRIA’S LOVER by R obert Browning

The rain set early in to-night, The sullen wind was soon awake, It tore the elm-tops down for spite, And did its worst to vex the lake: I listened with heart fit to break. When glided in Porphyria; straight She shut the cold out and the storm, And kneeled and made the cheerless grate Blaze up, and all the cottage warm; Which done, she rose, and from her form Withdrew the dripping cloak and shawl, And laid her soiled gloves by, untied Her hat and let the damp hair fall, And, last, she sat down by my side And called me. When no voice replied, She put my arm about her waist, And made her smooth white shoulder bare, And all her yellow hair displaced, And, stooping, made my cheek lie there, And spread, o'er all, her yellow hair, Murmuring how she loved me — she Too weak, for all her heart's endeavour, To set its struggling passion free From pride, and vainer ties dissever, And give herself to me for ever. But passion sometimes would prevail, Nor could to-night's gay feast restrain A sudden thought of one so pale For love of her, and all in vain: So, she was come through wind and rain. Be sure I looked up at her eyes Happy and proud; at last I knew Porphyria worshipped me; surprise Made my heart swell, and still it grew While I debated what to do. Continued K M cCabe 2 016

CLEAN COPY ANNOTATION: Annotate the poem from memory

PORPHYRIA’S LOVER by R obert Browning

That moment she was mine, mine, fair, Perfectly pure and good: I found A thing to do, and all her hair In one long yellow string I wound Three times her little throat around, And strangled her. No pain felt she; I am quite sure she felt no pain. As a shut bud that holds a bee, I warily oped her lids: again Laughed the blue eyes without a stain. And I untightened next the tress About her neck; her cheek once more Blushed bright beneath my burning kiss: I propped her head up as before, Only, this time my shoulder bore Her head, which droops upon it still: The smiling rosy little head, So glad it has its utmost will, That all it scorned at once is fled, And I, its love, am gained instead! Porphyria's love: she guessed not how Her darling one wish would be heard. And thus we sit together now, And all night long we have not stirred, And yet God has not said a word!

HAVE YOU NOTICED: Nature Pathetic fallacy Juxtaposition Personification QUESTIONS: 1. 2. 3.

Repetition Anastrophe

How is love presented as a d estructive force in this and one other poem of your choice? How does the speaker reveal the object o f the p oem in this and one other poem of your choice? How does the poet suggest different feelings towards the relationship in this and one other poem of your choice? K McCabe 2 016 31

SONNET 29 ‘I THINK OF THEE’ Context

THEMES:

by Elizabeth Barrett Browning (1806 – 1861) Barrett Browning was in ill health for much of her life. She had an overbearing father who refused permission for any of his daughters to marry. She was a very successful and famous poet in her lifetime. Elizabeth and another poet, Robert Browning (Porphyria’s Lover) began writing letters to each other in secret and eventually married. She was disinherited by her father.

q q q q

Secret Love Desire , Longing Nature Joy, Passion

COMPARE WITH: q q q q

Letters from Y orkshire Love’s Philosophy Porphyria’s Lover Singh Song

The poem contains a central extended metaphor of the poet’s feelings for her lover. S he compares herself to vines encircling a tree. This illuminates the w ay that B arrett B rowning sees her relationship – he is a solid, stable and strong ‘tree’, she is the ‘vine’ that surrounds it. Her love and passion could be seen as all-‐encompassing, possibly possessive and obsessive. She recognises how overwhelming her thoughts are, as her vine ‘put(s) out broad leaves, and soon there’s nought to see’. Her thoughts are suffocating and smothering, so that she loses sight of her ‘image’ of him. The poet describes her lover m etaphorically as a ‘palm tree’. Victorians loved palm trees, w hich reminded them of far off lands and adventure. It also has exotic connotations. She could believe that her lover can transport her from her unhappy, solitary life w ith her family, to a fulfilled future. The poet is determined not to be content w ith her thoughts alone. ‘I w ill not have my thoughts instead of thee’. If she becomes happy w ith just thinking of her love, there is a chance she m ay not see him for some time. There is a sense of urgency that m eans she w ants him close, not in her thoughts. The poet uses a series of imperatives which show her need for satisfaction and fulfillment -‐ Renew, Rustle, drop etc, ‘Rather’ in line 7 signifies the volta or turn in the poem. It changes the focus from how overpowering her thoughts are of him, to a demand that he m ake himself physically present ‘..Instantly renew thy presence’ The poet uses euphemism to discuss things that w ould not be appropriate for a Victorian lady to discuss and that have sexual undertones ’set thy trunk all bare’. Verbs ‘burst, shattered everywhere’ suggests an inability to contain herself. The intensity of her feelings are overwhelming her. Repetition of Thee shows the infatuation and inability to think of anything else.

Organised Notes SONNET 29 ‘I THINK OF THEE’ SUMMARISE IT: The poem is from a w oman to her lover telling him how m uch she loves him and longs for him to be by her side. It is told from the viewpoint of the w oman and has an impatient, excitable tone.

How are the themes portrayed?

The poem is structured in the form of a Petrarchan sonnet, often used as a poetic form for love poetry. However, this highly controlled form is manipulated to demonstrate the poet’s excitement and impatience. Whereas the Volta usually appears between the octave and the sestet, Barrett B rowning introduces the turn earlier in line 7. This emphasises her inability to control her thoughts and desire to be w ith her love. The poem uses a central extended metaphor of nature. Nature is a common symbol in love poetry, often used to explore feelings. In Victorian times, it w as used to allow the poet to express feelings that she would not have been able to if she had been m ore literal and less metaphorical. The image also exposes and interesting power imbalance between the poet and her love. The vines are smothering him.

What is the ‘Journey’ of the poem?

The poem demonstrates an inability to control emotion. The form highlights the overwhelming feelings the poet has. In addition, the language is bursting w ith excitement & intensity, the plosive sounds show there is nothing calm about her love. There is also an urgency which is created by the enjambment as thoughts flood her m ind. The poet displays an obsession over the relationship. The use of imperatives throughout command him to her Instantly, renew, rustle etc. Her image of the vines and the tree that w ill ‘put out broad leaves’ so that there’s ‘nought to see’ and eventually ‘hide the w ood’ – he w ould disappear from reality completely and be a m ere ‘desire’ . However, she is fully aware of this and w ould rather have him next to her, than be left w ith her obsessive thoughts. Petrarchan

Sestet

Obsessive

Euphemism

Plosive sounds

Flood

Sonnet

Volta

Imperatives

Intensity

Smother

Suffocating

Octave

Extended Metaphor

Urgency

Infatuation

Exotic

Solitary

5 KEY QUOTES:

SONNET 29 ‘I THINK OF THEE’ CLEAN COPY ANNOTATION: by Elizabeth Barrett B rowning Annotate the poem from memory

I think of thee!—my thoughts do twine and bud About thee, as wild vines, about a tree, Put out broad leaves, and soon there 's nought to see Except the straggling green which hides the wood. Yet, O my palm-‐tree, be it understood I will not have my thoughts instead of thee Who art dearer, better! Rather, instantly Renew thy presence; as a strong tree should, Rustle thy boughs and set thy trunk all bare, And let these bands of greenery which insphere thee Drop heavily down,—burst, shattered, everywhere! Because, in this deep joy to see and hear thee And breathe within thy shadow a new air, I do not think of thee—I am too near thee.

HAVE YOU NOTICED: Enjambment Imperatives Volta Repetition

Verbs Extended Metaphor

QUESTIONS: 1. 2. 3.

Compare how poets convey feelings o f j oy in their relationships in this and one other poem of your choice. How does the poet use nature to explore h er feelings in this and one other poem of your choice? To what extent is this poem about o bsessive and u nfulfilled love? Compare with one other poem of your choice. K M cCabe 2 016

Context

WALKING AWAY By Cecil D ay Lewis (1904 – 1972) Day Lewis’ mother died when he was very young and he was brought up his father. His poetry is often romantic and uses nature to explore personal experiences. This poem is about his son Sean, from his first marriage. H e became the Poet Laureate until his death in 1972.

THEMES: q q q q

Family Bonds Letting Go Childhood Parental Love

COMPARE WITH: q Follower q Mother, Any Distance q Eden Rock

The title of the poem is slightly ambiguous as it is not immediately clear w ho or w hy someone is walking away. Stanza 1: The poem sets out in the first line that this is a m emory from 18 years ago. This indicates something particularly poignant or significant about the event. Stanza 1: The scene is set w ith pathetic fallacy of the ’leaves just turning’. This is symbolic of the change from summer to autumn, a time of ageing and change, but also signifies new beginnings of the new school year, w ith ‘touch-‐lines new-‐ruled’. Stanza 1: The poet uses a simile to compare his son to a satellite w hich has been ‘wrenched from its orbit’. The verb ‘wrenched’ indicates something pulled by force, separated w ith reluctance. The anxiety of the poet is further highlighted is he imagines the son ‘go drifting away’. There is a sense of powerlessness felt by the poet. The line then physically drifts, through enjambment, into stanza 2. Stanza 2: The son is ‘behind a scatter of boys’ rather than in front of them, following and being led by others. The w ord scatter also conveys a sense of unpredictable behaviour. The father is losing his steady, firm control over his son. Stanza 2: The father describes his emotion at this m oment as ‘pathos’ – a sympathetic pity or sadness, for the ‘half-‐fledged thing’ w ho is now ’in the w ilderness’. This vividly conveys the poet’s apprehension for his vulnerable son, whose ‘gait’ is unsteady and unsure. His inability to find a ‘path’ adds to the satellite image, of a child w ithout anchor, rooting them to the ground. This image is full of fricative consonants (f and th sounds). These give the line a light, flowing sound as if in flight. Stanza 3: Another simile likens the son to a ‘winged seed’ – again furthering the image of something without control or purpose, aimlessly meandering. Stanza 3: The poet creates a m etaphor for the cycle of life. Events, such as this one, seemingly insignificant, are portrayed as ‘scorching ordeals’. The verb scorch suggests burning and permanently scarring, w hich, w hen pieced together ‘fire one’s irresolute clay’. Day Lewis compares human experiences to the shaping and m oulding of clay. Clay can be shaped in any w ay and needs to be fired in an oven to harden and become solid. B efore this, it can be changed and is not fixed, like people. However, w hen painful events happen, they ’fire’ or harden people and leave permanent m arks. Stanza 4: B egins w ith a lighter, m ore contemplative tone, although the verb ‘gnaws’ exposes the persistent raw pain the father feels. However, the poet reflects that this pain is a sign of deep love and that deep love for a child m eans w anting to see them grow and become an independent ‘self ’.

Organised Notes

WALKING AWAY

SUMMARISE IT:

The poem is a m emory a father has of w atching his son w alk away to play his first game of football. He uses this simple, literal event to reflect on the task parents have of letting go of their children. It is w ritten from the viewpoint of the poet as the parent, directly addressing his son. It has a poignant and reflective tone.

How are the themes portrayed?

Walking Away is a lyric poem in four fairly regular stanzas in terms of rhyme and m etre. This control suggests a deeply reflective poem, confirmed by the opening line that the focus is an 18 yr old m emory. The caesura in the poem adds to the slow reflective pace. Whereas the enjambment m imics the m ovement of the son away from his father. Although the poem is about the son w alking away, it s firmly focused on the feelings of the poet. The poem addresses the son directly, but there is repetition of ‘I’ throughout, illustrating the central feeling of anxiety in the poem. This is clearly shown in S tanza 2 w ith the line ‘I can see you walking away from me’ – it is as if this is m ore about what is being done to the poet, than about the feelings of the son.

What is the ‘Journey’ of the poem?

Much of the imagery suggests innocence and vulnerability, juxtaposed with pain. The son is oblivious to the pain caused by the ‘walking away’. Words such as ‘wrenched’, ‘wilderness’, ‘scorching ordeals’, ‘gnaws’ emphasise pain and suffering. Part of this is caused by the vulnerability the poet recognizes in him, as ‘behind a scatter of boys’ ‘half-‐fledged thing’, the unsteady ‘gait’, the ‘hesitant figure’. The poet uses a semantic field of flight and freedom. The satellite drifting, the half-‐fledged thing, the winged seed, all suggest m ovement and distance. Apprehension over this freedom is shown through accompanying w ords such as ‘wilderness’ and ‘wrenched’. Oblivious

Irresolute

Literal

Anxiety

Meandering

Persistent

Juxtaposed

Poignant

Metaphorical

Permanent

Scarring

Contemplative

Pathetic F allacy

Reflective

Fricative Consonants

Vulnerable

Lyric

Apprehension

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

WALKING AWAY By Cecil Day Lewis

It is eighteen years ago, almost to the day – A sunny day with leaves just turning, The touch-‐lines new-‐ruled – since I watched you play Your first game of football, then, like a satellite Wrenched from its orbit, go drifting away Behind a scatter of boys. I can see You walking away from me towards the school With the pathos of a half-‐fledged thing set free Into a wilderness, the gait of one Who finds no path where the path should be. That hesitant figure, eddying away Like a winged seed loosened from its parent stem, Has something I never quite grasp to convey About nature’s give-‐and-‐take – the small, the scorching Ordeals which fire one’s irresolute clay. I have had worse partings, but none that so Gnaws at my mind still. Perhaps it is roughly Saying what God alone could perfectly show – How selfhood begins with a walking away, And love is proved in the letting go.

HAVE YOU NOTICED: Enjambment Semantic field Caesura Simile

Metaphor Pathetic Fallacy

QUESTIONS: 1. 2. 3.

Compare how strong b onds are explored this and one other poem of your choice. How is growing u p explored in this poem and one other poem of your choice? Compare how feelings o f loss are communicated in this poem and one other of your choice. K M cCabe 2 016

Context

FOLLOWER By Seamus H eaney (1939 – 2013) Heaney was brought up in a simple, rural family and was the eldest of 8 children. He became an English teacher and began to write poetry. He became the Professor of Poetry at Oxford and in 1995 won the Nobel prize for literature. He was also offered the role of Poet Laureate, an honour given by the King/Queen to be the national Poet. H eaney turned this down because of his strong Irish roots and identity.

THEMES: q q q q

Family Bonds Letting Go Childhood Parental Love

COMPARE WITH: q q q q

Before Y ou Were Mine Walking Away Climbing my Grandfather Mother, Any Distance

The title is ambiguous as it doesn’t clarify w ho is following w ho, this is also relevant to the central theme of the poem. Stanza 1: Heaney is remembering his father who, as part of his w ork on the farm, ploughed the fields. A simile is used in the first stanza that likens his father’s ‘globed’ shoulders w ith a ‘full sail’ . This conveys the image of a strong and powerful m an, w ith broad shoulders. He has control over the horse w ho is responding to the father’s clicks and commands. There is a clear admiration that comes through from a young Heaney observing his father in his w ork. Stanza 2: This admiration is confirmed w ith the statement opening stanza 2 ‘An expert’. This, followed by caesura, demands that the reader pause on this thought and consider his mastery, explained in the following lines using precise verbs ‘fit, set, w ithout breaking, single pluck’. This is significant as rural farm w ork is often considered m enial, unimportant. Heaney elevates it to something almost talented and artistic. Enjambment is used at the end to illustrate the plough turning, to come back down the line. Stanza 3: The father and horse are described as a team – man and nature w orking in unison. More details of the precision and skill of his father ‘His eye narrow and angled at the ground, mapping the furrow exactly’. There is a sense that Heaney is attentively observing his father w ith great pride, almost w ith such detail so that he m ay mimic his father in later life. Stanza 4: B egins to focus on the son. Heaney’s stumbling is juxtaposed with the accuracy of his father. He stumbles, falls and rides on his father’s back. The use of the passive verb form ‘He rode me on his back’ shows that it is father w ho is in control, very different to ‘I rode on his back’. This is could be interpreted as a sentimental portrait of a father w ho w as also affectionate and loving, who enjoys the company of his son, not detached and unapproachable because of his focus on work. It could also show Heaney’s frustration, that he felt he could never m easure up to his father. Stanza 5: The impact and influence the father has on Heaney is m ade clear at the beginning of this stanza ‘I w anted to grow up and plough’. There is a melancholic tone, when Heaney acknowledges that ‘All I ever did w as follow’, again revealing a sense of his own failure and inadequacy. Stanza 6: As an adult, Heaney recognises his impact on his father and the nuisance he m ay have caused ‘tripping, falling, yapping’. However, he also recognises the changes to their relationship as it is now the father ‘who keeps stumbling’ and ‘will not go away’. This can be interpreted in two ways. Either, in the same w ay that the young Heaney would not leave his father’s side because of his devotion to him, now the father is m imicking his son in his old age, Heaney tenderly recognising the roles switching. Alternatively, the adult Heaney is frustrated by his father’s dependence on him, having seen him as a leader and role-‐model all his life.

Organised Notes

FOLLOWER

SUMMARISE IT: How are the themes portrayed?

The poem is a touching celebration of a father, skilfully w orking on the land. It is told from the viewpoint of the son, the poet Heaney, remembering him as a child and as an adult. It is a gentle and poignant tone. The poem is w ritten in 6 regular, controlled quatrains. It has ABAB rhyme and half-‐rhyme. The controlled structure represents an old m emory that has long been reflected upon. It also represents the ordered rhythm of ploughing, very structured, w ith enjambment to m irror the turn in the field, shown in stanza 2-‐3. Love is shown through the description of the father at w ork. The admiration of the son, observing his father, is shown through the simile used to describe him ‘globed’ ‘like a full sail’ The precision of the detail highlights his father’s skill and expertise ‘fit, set, w ithout breaking, pluck’. The admiration Heaney has for his father is juxtaposed w ith his own sense of inadequacy ‘I stumbled, all I ever did w as follow’ and desire to follow in his footsteps, and be the m an his father is.

What is the ‘Journey’ of the poem?

The poem refers to some of the complexities of changing family relationships. The father is loving and affectionate, his son follows him everywhere, there is no hint that his father lost patience w ith the young Heaney. As he becomes an adult, Heaney views himself as ’a nuisance’. There is possibly guilt and shame that this is how he now views his father, a m an w ho he once w as so devoted to. It is a glimpse of the conflict Heaney feels over the changing roles and relationships in family life. Rural

Mastery

Mimic

Sentimental

Inadequacy

Quatrain

Ploughing

Unison

Accuracy

Affectionate

Devotion

Elevates

Admiration

Attentive

Passive

Melancholic

Poignant

5 KEY QUOTES:

FOLLOWER

CLEAN COPY ANNOTATION: Annotate the poem from memory

By Seamus Heaney

My father w orked w ith a horse-‐plough, His shoulders globed like a full sail strung Between the shafts and the furrow. The horse strained at his clicking tongue. An expert. He w ould set the w ing And fit the bright steel-‐pointed sock. The sod rolled over w ithout breaking. At the headrig, w ith a single pluck Of reins, the sweating team turned round And back into the land. His eye Narrowed and angled at the ground, Mapping the furrow exactly. I stumbled in his hob-‐nailed w ake, Fell sometimes on the polished sod; Sometimes he rode me on his back Dipping and rising to his plod. I w anted to grow up and plough, To close one eye, stiffen m y arm. All I ever did w as follow In his broad shadow round the farm. I w as a nuisance, tripping, falling, Yapping always. B ut today It is m y father w ho keeps stumbling Behind m e, and w ill not go away.

HAVE YOU NOTICED: Enjambment Semantic field Caesura Simile QUESTIONS: 1. 2. 3.

Consonance

How does the poem convey complicated relationships between children and their parents in this and one other poem of your choice? Compare feelings of respect and admiration in relationships as communicated through this poem and one other of your choice. How does the poet present fathers in this poem and one other of your choice. K M cCabe 2 016

Context

MOTHER, ANY DISTANCE By Simon Armitage (1963 -‐ ) Born in Yorkshire. This poem comes from a collection of poems called the ’Book of Matches’, named because Armitage intended each poem to be read in the time it takes for a match to burn. He often writes about complex emotions using everyday events. H e was recently made the Oxford Professor of Poetry.

THEMES: q q q q

Family Bonds Letting Go Childhood Parental Love

COMPARE WITH: q Walking Away q Follower

q Climbing My grandfather

q Before You Were Mine

The poem w as originally untitled, along w ith all poems in the ‘Book of Matches’. The given title comes from the first few lines. This adds to the ambiguity, that it is the reader’s task to decide on the overall m essage or theme. Stanza 1: Addressed directly to his m other, using a formal term of address. This could be the first indication that he is ready, trying to m ove into adulthood. However, it is immediately contrasted w ith an acknowledgement that he still needs her ‘second pair of hands’. Stanza 1: H yperbole used to describe the new house ‘acres’, ‘prairies’. This has connotations of both childish adventure & exploration, heading off into the Wild West, unchartered territory. It also suggests some amount of fear and trepidation about the unknown future. Stanza 2: Mother is described as being at the zero-‐end . S he is the fixed point, w hereas he is the one moving away. This is the beginning of the imagery suggesting he is attached or tethered to her. He has to report ‘back to base’ w ith the ‘line still feeding out’. Their attachment is reminiscent of an umbilical cord, suggesting a deep connection between m other and son. However, as he m oves away, he is aware that he is becoming m ore distant – ‘unreeling years between us’ and this leaves him feeling both anxious and excited. Stanza 2: The enjambment of stanza 1 & 2 is contrasted w ith the caesura of two juxtaposed images ‘Anchor. Kite.’ S he is the anchor, he is the kite. Anchor can be both stable & reassuring, as w ell as restricting, hindering, pulling him back. However, Kite suggests joyous feelings of freedom & excitement, only enjoyed if attached to string. Stanza 3: The image of the poet space-‐walking continues the theme of exploration. He is now at the limits of the tape m easure and m etaphorically, of his freedom w hilst being so tethered to his m other, ‘something has to give’. Tenderly, he notices she is still holding on and w ill not let go of him. Stanza 3: He reaches for the ‘endless sky’ and the poem ends ambiguously, leaving the question of whether he w ill ‘fall or fly’ hanging. The end seems implicitly positive. Hatch has a double meaning. Like a bird, independence is natural and he w ill fly.

Organised Notes

MOTHER, ANY DISTANCE

The poem is about a son m easuring up his first house, w ith the help of his m other. He acknowledges that he is beginning to physically and emotionally m ove further away from her, into adulthood. It is told in first person from the viewpoint of the poet. It has a gentle and positive tone. The poem is based on a sonnet form, traditionally used for love poetry. Mother, Any Distance has 15 lines, ends w ith a rhyming couplet. It roughly has an octave and sestet. The turn (volta) comes in line 9 w hen the son begins to experience less fear and m ore excitement and need for his independence. The poem m oves between harmony and rhyme/half-‐ rhyme into disjointed, irregular rhyme and irregular line length. The instability, irregularity of the rhyme and m etre symbolises the evolving nature of the relationship, that they are changing and renegotiating their roles The poem uses a number of m etaphors relating to flight to explore the changing relationship between the m other and the son. Space-‐walking and back to base convey the excitement and adventure of the son leaving. Kite also has associations w ith fun and play. F inally the son reaching for the hatch ( also a pun on birds hatching) preparing to fly suggests a bird leaving the nest ( home) to become truly independent.

SUMMARISE IT: How are the themes portrayed?

What is the ‘Journey’ of the poem?

The poet though attached to his m other, w ants and needs to let go. The use of the w ords associated with adventure and exploration suggest both excitement and trepidation. The poet knows he is moving into unchartered territory. Hyperbole symbolises his childlike response to his freedom ( acres, prairie, space-‐walk) but this changes to something m ore dynamic and decisive (climb, reach). The poem shows the relationship is evolving and being renegotiated by son and m other. Despite the seemingly reserved nature of the poem, the poet clearly has deep feelings of love for his Mother. Choosing the sonnet form, used typically for love poetry, makes a clear statement. Although he doesn’t use the w ord love, or any terms of affection for his m other, the poem shows his literal & emotional attachment through the imagery and m etaphors – You come to help me, You at the zero end, still pinch.. Sonnet

Renegotiating

Trepidation

Rhyming Couplet

Pun

Restricting

Metaphor

Ambiguously

Half-‐rhyme

Disjointed

Tethered

Hindering

Umbilical Cord

Hyperbole

Independence

Direct Address

Evolving

Unchartered Territory

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

MOTHER, ANY DISTANCE

By Simon Armitage

Mother, any distance greater than a single span requires a second pair of hands. You come to help me measure windows, pelmets, doors, the acres of the walls, the prairies of the floors. You at the z ero-‐end, me with the spool of tape, recording length, reporting metres, centimetres back to base, then leaving up the stairs, the line still feeding out, unreeling years between us. Anchor. Kite. I space-‐walk through the empty bedrooms, climb the ladder to the loft, to breaking point, where something has to give; two floors below your fingertips still pinch the last one-‐hundredth of an inch...I reach towards a hatch that opens on an endless sky to fall or fly.

HAVE YOU NOTICED: Enjambment Hyperbole Irregular Rhyme Caesura Extended Metaphor Imagery QUESTIONS: 1. 2. 3.

How does the poet present their feelings towards a p arent in this and one other poem of your choice? How does the poem convey complicated relationships between children and their parents in this and one other poem of your choice? Compare the way growing u p is portrayed in this and one other poem of your choice. K M cCabe 2 016

Context

CLIMBING MY GRANDFATHER By Andrew Waterhouse (1958 – 2001) Waterhouse was a teacher, environmentalist, poet and musician. He committed suicide, having suffered from depression throughout his life. H e was described in his obituary as imagining a ‘world…full of solid objects and hard edges, stones, wood and frozen ground’.

THEMES: q Love q Family Bonds q Childhood

COMPARE WITH: q q q q

Follower Walking Away Before Y ou Were Mine Mother, Any Distance

The title of the poem evokes images of a toddler climbing on and over his grandfather. The w ord climbing also suggests the height ( in life, status, experience) that the grandfather has reached. The poem begins w ith the poet proudly stating that he ‘decides to do it free, w ithout a rope or net’ There is something both adventurous, slightly dangerous and liberating about free climbing, an adventure that the grandson is keen to embark on. The ascent at the beginning is described as ‘easy’. The grandson notices the ‘old brogues, dusty and cracked’ creating an image of a practical and resourceful m an. He then ‘traverses’, m oving round to ’an earth stained hand’. This portrays the grandfather as someone w ho is a simple w orking m an, outside, possibly in his garden or on an allotment, his fingernails ‘splintered’. There is a romanticised ideal about man’s connection with nature, there is something honourable about w orking on the land. He is further shown as honourable, the splinters ‘give good purchase’ ( allow for a firm grip). The grandfather is solid, dependable and unshakeable. An oxymoron ‘warm ice’ is used to describe the skin on his fingers. The contrast highlights something both deeply familiar and reassuring and something thrilling and slightly unnerving – possible unnerving because of the awe and w onder the grandson feels for his grandfather. On his arm he has the ‘glassy ridge of a scar’ demonstrating that he is a m an of experience w ho has lived a full life. B y the grandson placing his feet ‘gently’ in the stitches, there is an acknowledgement of the pain that m ay have resulted from this. The grandson then reaches ‘his still firm shoulder’ and rests. S houlders are symbolic for carrying weight, bearing troubles etc. The fact that the grandfather’s shoulders are still ‘firm’ illustrates a man w ho is resolute and strong, emotionally and physically. The grandson acknowledges that ’climbing has its dangers’ perhaps because in our journey to knowing or ‘climbing’ our relatives, there is always a risk in our discoveries, w hat w e m ay uncover from the past. The grandson stares into his eyes, as he slowly blinks ‘watch a pupil slowly open and close’ – the inactivity of the grandfather shows immense patience and affection for his grandson. The summit of the climb is the w hite hair of the grandfather. The grandson imagines the air being thin, as it is at top of high m ountains. He cannot see any m ore of his grandfather, having reached the top of his head, only ‘clouds and birds’ but he does now feel deeply connected to him, feeling his w armth and ‘the slow pulse’ of his ‘good heart’.

Organised Notes CLIMBING MY GRANDFATHER SUMMARISE IT: The poem is an extended m etaphor, comparing the G randfather to a mountain, that the grandson climbs. It is told from the viewpoint of the grandson as if he is still a young boy. It has a positive and loving tone.

How are the themes portrayed?

The poem is w ritten in a single stanza. This is significant as it visually suggests a m ountain, w ith overhanging ledges and ridges. It also represents the length and height of the ‘climb’. The grandfather has lived a long life to be the firm, stable and resolute man that he is. The lines are a m ix of both enjambment and caesura to suggest the free-‐flowing movement of the climber, and the perpetual flow of life. The grandson has a deep admiration for his grandfather. The central metaphor of the grandfather being like a m ountain suggests the grandson feels awe and w onder. The particulars of the grandfather’s life voiced through the physical m arks and details, are not questioned by the grandson, but accepted as part of his form. The patience of the grandfather, allowing the boy to climb and explore, shows reciprocal love and tenderness. There is a silent, w isdom about the grandfather, that knows the young boy m ust undertake life’s adventures on his own, but he w ill always be a dependable and unshakeable ‘rock’ for support.

What is the ‘Journey’ of the poem?

The poet’s use of a semantic field of climbing and the outdoor world romanticises the grandfather. The frequent use of specific terms associated w ith climbing evokes images of adventure. To the young boy, the life ahead is an adventure, made even m ore poignant considering the fate of the poet. His grandfather is a giant or hero, which the boy wants to explore, shown in his excitement as he embarks on his ascent.. In addition, there is a an honour associated w ith the ‘earth stained hands’, the scars and m arks acquired over the years. Environmentalist

Ascent

Honourable

Resolute

Perpetual

Awe

Liberating

Romanticised

Dependable

Patience

Admiration

Oxymoron

Embark

Ideal

Unshakeable

Summit

Reciprocal

Poignant

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

CLIMBING MY GRANDFATHER by Andrew Waterhouse

I decide to do it free, w ithout a rope or net. First, the old brogues, dusty and cracked; an easy scramble onto his trousers, pushing into the w eave, trying to get a grip. By the overhanging shirt I change direction, traverse along his belt to an earth stained hand. The nails are splintered and give good purchase, the skin of his finger is smooth and thick like w arm ice. On his arm I discover the glassy ridge of a scar, place m y feet gently in the old stitches and m ove on. At his still firm shoulder, I rest for a w hile in the shade, not looking down, for climbing has its dangers, then pull myself up the loose skin of his neck to a smiling m outh to drink among teeth. Refreshed, I cross the screed cheek, to stare into his brown eyes, w atch a pupil slowly open and close. Then up over the forehead, the w rinkles w ell-‐spaced and easy, to his thick hair ( soft and w hite at this altitude), reaching for the summit, where gasping for breath I can only lie watching clouds and birds circle, feeling his heat, knowing the slow pulse of his good heart.

HAVE YOU NOTICED: Enjambment Semantic field Oxymoron Caesura Extended metaphor Simile QUESTIONS: 1. 2. 3.

How does the poem reveal strong family bonds in this and one other poem of your choice? Compare the portrayal of adults and children in family relationships in this and one other poem of your choice. How does the poet use imagery to portray a relationship in this and one other poem of your choice? K M cCabe 2 016

Context

EDEN ROCK By Charles Causley (1917 – 2003) Causley was brought up in Cornwall. The poem can be considered partly autobiographical as his father died when he was around 7 years old, after returning from WWI and never recovered from injuries. Causley was private & believed everything people needed to know about him was in his poems. The poem was published after his mother had died, when he was well into old age.

THEMES: q q q q

Past Memory Loss/Longing Family

COMPARE WITH: q q q q

Before Y ou Were Mine Walking Away Mother Any D istance Follower

Title ‘Eden R ock’ refers to an invented location, created by Causley. The w ord Eden could be suggestive of the G arden of Eden, an idyllic paradise. Stanza 1: S tarts in the present tense w ith vague location ‘somewhere’. Contrasted w ith precise, detailed image of father. ‘Same’ suit suggests habit and a m odest, unpretentious person, who values quality that lasts shown in the detail of the ‘Genuine Irish Tweed.’ Stanza 1: The present tense and use of ‘still’ describing the dog gives the impression of a m oment from m any years ago, w hich is now replaying and has a timeless quality. Stanza 2: Precise, detailed description of m other sprigged dress, ribbon, straw hat etc. suggests a photographic memory of the event, as if the poet has studied a family snapshot m any times. Stanza 2: w hite, light, w heat symbolise a peaceful, positive, natural scene. Stanza 3: Details again point towards modest, resourceful and simple people, reusing w hat they have ‘old HP sauce bottle’, also reinforced by ‘Same’ repeated from S tanza 2. ’Painted blue’ tin cups adds to this sense of resourcefulness but also evokes images of the sky, echoed in stanza 4. Stanza 3: The action happening ‘slowly’ seems almost dreamlike. Stanza 4: S ome critics have suggested that the three suns represent the Holy Trinity and that Causley is clearly referring to heaven at this point. The bright w hite light is symbolic of a shift & change in the mood as the m other ‘shades her eyes’ and looks at her son. It is the first interaction between them. Stanza 5: The poet is no longer part of the dream like image. He can now ‘hear’ his parents call, but is no longer able to see them. Stanza 5/6: The physical distancing of the final line from the stanza captures the distance between the poet and his parents, w ho are on the other side. Stanza 5/6: The euphemistic ‘crossing’ w hich is ‘not as hard as’ he ‘might think’ and that he ‘had not thought it w ould be like this’ could suggest that Causley is filled w ith joy and peace that his parents are w aiting for him -‐ death should not be feared. However, there is a sense of fear – accepting death means giving up on life.

Organised Notes

EDEN ROCK

SUMMARISE IT:

Eden R ock is a description of a picnic the poet has w ith parents. On a literal level, it could be simply nostalgic. B ut it has a m ore symbolic meaning -‐ the poet imagining his parents in a timeless afterlife calling to him to join them. It is told from the viewpoint of the poet in first person and has a reflective and peaceful tone.

How are the themes portrayed?

Structured in 4 regular quatrains w ith a 5th split, final stanza. It has a regular m etre and uses half -‐ rhyme. This creates an underlying sense of discord, an eerie sense of disharmony, that the idyllic scene is not quite right. It should be m elodic and harmonious, but the half-‐rhyme prevents this. The split 5th stanza creates a physical gap for the reader to cross in order to reach the final line. Poem uses a series of precise details to describe his parents and the scene. Irish Tweed, sprigged dress, stiff w hite cloth, thermos etc. These vivid descriptions create a distinct portrait or tableau of the family. This precision juxtaposes the ambiguity created elsewhere in the poem ‘somewhere beyond Eden R ock’ and the past that is set in the present.

What is the ‘Journey’ of the poem?

Poem is flooded w ith light and bright colours: whitens, w hite cloth, wheat, light, milk, blue etc. These all create a beautiful scene. Poem uses a number of religious m otifs or symbols to suggest the peace and tranquility of the afterlife: three suns, Eden, crossing the river. There is a sense of reconciliation w ith death and becoming at peace w ith the idea of it. Notice death isn’t m entioned at all in the poem, so the euphemism of ’crossing’ and the w hole poem could be considered as an extended m etaphor for death. Tableau

Nostalgia

Fragments

Disharmony

Euphemism/ Euphemistic

Idyllic

Discord

Poignant

Modest

Reflective

Ambiguous/ Ambiguity

Afterlife

Half-‐rhyme

Unpretentious

Tranquil

Religious Motifs

Caesura & Enjambment

Precise

5 KEY QUOTES:

EDEN ROCK

CLEAN COPY ANNOTATION: Annotate the poem from memory

By Charles Causley

They are w aiting for m e somewhere beyond Eden R ock: My father, twenty-‐five, in the same suit Of G enuine Irish Tweed, his terrier Jack Still two years old and trembling at his feet. My m other, twenty-‐three, in a sprigged dress Drawn at the w aist, ribbon in her straw hat, Has spread the stiff w hite cloth over the grass. Her hair, the colour of w heat, takes on the light. She pours tea from a Thermos, the m ilk straight From an old H.P. Sauce bottle, a screw Of paper for a cork; slowly sets out The same three plates, the tin cups painted blue. The sky w hitens as if lit by three suns. My m other shades her eyes and looks m y w ay Over the drifted stream. My father spins A stone along the w ater. Leisurely, They beckon to m e from the other bank. I hear them call, 'See w here the stream-‐path is! Crossing is not as hard as you m ight think.’ I had not thought that it w ould be like this.

HAVE YOU NOTICED: Enjambment Semantic field Caesura Euphemism

Colours Present tense

QUESTIONS: 1. 2. 3.

How does the poet present death in this poem and one other of your choice? Explore how the poet’s family are portrayed in this poem and one other poem of your choice. How does the poet explore memories of the p ast in Eden Rock and one other poem of your choice? K M cCabe 2 016

Context

BEFORE YOU WERE MINE By Carol Ann Duffy (1955 -‐ ) An autobiographical poem of the poet’s mother, her youth and her mother (Duffy’s Grandmother). It moves between the past (1950’s) and the present. Duffy was raised in Scotland before moving to England as a child. The poem was published in 1993.

THEMES: q q q q

Past Memory Regret Mother/Family

COMPARE WITH: q q q q

Follower Walking Away Eden Rock Mother Any D istance

Title is an inversion of the w ay w e see parent/child relationships. In this poem, Duffy owns or possesses her m other, she takes ownership and possibly feels responsibility for her m other, w hen it is usually the other w ay round. Duffy could feel some guilt at her m other’s disenchantment with her life, or feel bitter that her m other w as not happy. Stanza 1: The poem begins w ith a precise image of m other with friends. There is a sense of exuberance and joy of youth as they ‘shriek at the pavement’. Stanza 1: Poet suggests her m other has the same attributes as Marilyn Monroe (glamour, sex appeal etc.) ‘Marilyn.’ Stanza 2: Excitement & glamour continues ‘ballroom w ith a thousand eyes’ and ‘fizzy, movie tomorrows’. Duffy imagines her m other as being the centre of attention w atched by everyone, a fairy-‐tale scenario of endless possibilities for love & romance Stanza 2: ‘I knew you w ould dance like that’ conveys Duffy’s imagined and idealised memories of her m other. Stanza 3: Begins w ith a rhetorical question that has an ironic, conversational tone. This suggests intimacy, pathos and some bitterness. Intimacy as if they are equals, pathos showing an emotional understanding of how hard it is being a m other, and bitterness acknowledging that her m other w as never as happy as she w as ‘before’ she w as hers. Stanza 3: Duffy’s hands in the ‘red high-‐heeled shoes’ is a juxtaposition between the innocence of a child’s play and dressing up, and the shoes as a sexual icon. Relics because they are now useless. Stanza 3: Duffy’s m emory is so vivid she uses synaesthesia to evoke the image of her m other w ho she sees ‘clear as scent’. Stanza 4: Pavement imagery is repeated as m other and daughter are ‘stamping stars’, suggesting Hollywood glamour, but this time it is the w rong pavement. Stanza 4: Duffy acknowledges that as a child she recognised the difference between her carefree mother and the unhappy, bitter m other. ‘Even then I w anted the bold girl w inking’.

Organised Notes

BEFORE YOU WERE MINE

The poem is about the poet’s idealised memories of her m other. It is told from the viewpoint of the poet, w ho is omniscient. She is directly addressing her mother. It has a poignant tone.

SUMMARISE IT: How are the themes portrayed?

Structured in blank verse w hich creates an underlying sense of disharmony – mother’s life w asn’t as she had hoped. Fragments of memories and imagined m emories pieced together like tableaus or vignettes, so contains m ixture of enjambment and caesura. Has regularity in the stanzas to represent the regularity of the circle of life – daughter, m other, grandmother. It also often uses the present tense to talk about the past – again suggesting that things repeat themselves. Circular structure also shown in the first pavement and the poem ending with a pavement, but the ‘wrong’ one. Poem uses a semantic field of glamorous icons: throughout Marilyn, ballroom, movie, cha cha cha, sparkle, w altz etc. Evocative and sensory images. These images idealise her m other and suggest an almost fairy-‐ tale youth. There is a deep love and admiration shown for her m other. Poem juxtaposes the experiences of youth with growing old and having responsibilities throughout loud, possessive yell, w ith a hiding for the late one, my hands in the shoes etc. Although she recognises that this is life, there is still a sense of sadness and lack of fulfillment, as though life didn’t m eet the expectations of youth. The poem, m oving in between time frames, also shows how life m erges from one part to another.

What is the ‘Journey’ of the poem?

Poem uses a direct and conversational tone throughout to create a sense of intimacy and equality that leaves Duffy seeming quite angry. The direct tone ( use of I, m e, m y) suggests that Duffy, as an omniscient narrator, is fully controlling her m other’s images, by inventing them and over glamourizing them. The conversational tone suggests a confident and m ore knowing tone – it is full of dramatic irony. Tableau

Idealised Memory

Fragments

Synaesthesia

Disenchantment

Non-‐linear

Vignette

Poignant

Possession

Inversion

Relics or Icons

Omniscient

Exuberance

Blank verse

Direct address

Pathos

Caesura & Enjambment

Disharmony

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

BEFORE YOU WERE MINE By Carol Ann Duffy

Before You Were Mine I’m ten years away from the corner you laugh on with your pals, Maggie McGeeney and Jean Duff. The three of you bend from the waist, holding each other, or your knees, and shriek at the pavement. Your polka-dot dress blows round your legs. Marilyn. I’m not here yet. The thought of me doesn’t occur in the ballroom with the thousand eyes, the fizzy, movie tomorrows the right walk home could bring. I knew you would dance like that. Before you were mine, your Ma stands at the close with a hiding for the late one. You reckon it’s worth it. The decade ahead of my loud, possessive yell was the best one, eh? I remember my hands in those high-heeled red shoes, relics, and now your ghost clatters toward me over George Square till I see you, clear as scent, under the tree, with its lights, and whose small bites on your neck, sweetheart? Cha cha cha! You’d teach me the steps on the way home from Mass, stamping stars from the wrong pavement. Even then I wanted the bold girl winking in Portobello, somewhere in Scotland, before I was born. That glamorous love lasts where you sparkle and waltz and laugh before you were mine.

HAVE YOU NOTICED: Enjambment Semantic field Synaesthesia Caesura Rhetorical questions Personal pronouns QUESTIONS: 1. 2. 3.

How does the poet present family memories in this and one other poem of your choice? Compare how poets present relationships with their mothers in this and one other poem of your choice. To what extent does the poet present loss o f a loved o ne as something mournful K Mo cCabe 2 016 52 and sad? Compare this poem with ne other poem of your choice.

Context

LETTERS FROM YORKSHIRE By Maura Dooley (1957 -‐ ) Dooley was born in Cornwall and went to University in York. Now living in London, Dooley lived in Yorkshire for some years before moving to London. Letters from Yorkshire was published in 2002

THEMES: q q q q

Love Longing Distance Nature

COMPARE WITH: q q q q

I Think of Thee Winter Swans Love’s Philosophy Farmer’s Bride

The reference to ‘letters’ in the title, using the plural gives the impression that the poet receives letters fairly frequently and that these are m uch anticipated and w elcomed. The poem is w ritten in first person, but m oves between addressing the m an as ‘he’ to the direct form of address ‘you’. Stanza 1: Vividly portrays the m an in his garden. Detailed description indicates he is deeply connected with nature. Active verbs describe his w ork. He is also deeply connected with the poet as ’his knuckles singing’ communicates the joy he feels in sharing the return of the ‘lapwings’ with his friend. Stanza 2: The caesura and enjambment suggest the poet is recalling m oments as she imagines them. This is also indicated by the use of the continuous tense in S tanza 1, that the two lives and w orlds are occurring simultaneously. Stanza 2: The sudden change in tone ‘It’s not romance, simply how things are’ contains ambiguous reference to ‘It’. This could be interpreted as the poet refusing to see the beauty of nature in a romanticised way. S he m ay w ant to portray the typically romanticised ideal of nature as normal and ‘real’ as this is w hat she w ants for her own life – daily engagement w ith nature, in the w ay she has described the m an in stanza 1. However, it could also be interpreted as a defensive refusal to acknowledge she is romantically linked to the m an. There is a change from ‘He’ to a m uch m ore direct and intimate ‘You’ immediately after this point, w hich could suggest a change in her ability to measure and control her feelings. Stanza 2/3: The poem contains clever enjambment across these stanzas w ith the ‘seasons turning’. The enjambment also m irrors the w ay the couple are linked together, physically separate but connected. Stanza 3: The poet’s description of her life seems mundane and unfulfilling. The imagery of her ‘feeding’ w ords into the screen indicates that this w ork is consuming her, the screen w ill never be satisfied and always demands m ore. Her futile w ork is juxtaposed w ith his purposeful w ork. Stanza 3: The reference to ‘headlines’ works w ell next to her challenge of the reality of her life compared to his, through the use of a rhetorical question. It deliberately m akes the reader question what is real and important. Stanza 5: Although she yearns and longs for his w orld and the ‘air and light’ w hich floods his letters, they have a profound connection even w ith the distance as their ’souls’ tap out messages across miles.

Organised Notes LETTERS FROM YORKSHIRE

SUMMARISE IT:

Letters from Yorkshire is about the poet receiving letters from a m ale friend. These letters give her a w indow into his life in Yorkshire, a life that she m isses and yearns for. It is told from the viewpoint of the poet. It has a reflective and positive tone.

How are the themes portrayed?

The poem is structured in 5 unrhymed tercets. The enjambment and irregular rhyme and rhythm suggests a flow of continual and immediate thought. The enjambment shows how the stanzas, though separated, are interlinked and connected , just as the m an and the w oman are. The structure m irrors their relationship. The end-‐stopped lines create moments of deeper reflection, questioning her own choices in life and echo how tentative she is about their relationship. The poet uses nature to explore w hat m akes her happy. The natural w orld surrounding the m an is gentle, tranquil and full of w armth and light – even in a cold setting singing reddened in the w armth, clearing a path, snow, air and light etc. S he yearns for the simplicity of his life. S he experiences vicarious joy from knowing the tasks he is completing in his garden. The changing natural landscape is also a m etaphor for changes to their relationship. The lapwings signify spring and possibly a w arming of their feelings, also suggested by ‘clearing a path’ and ‘breaking the ice.’

What is the ‘Journey’ of the poem?

The poet’s feelings are not explicitly expressed. There is a deep bond between them, shown through the plurality of the ‘letters’, his joy at writing to her, their comfort w ith the distance, an their souls being connected. The poet seems to be measured and controlled in how she presents her feelings. This control could be seen as slightly shaken after defending her feelings about the m an, w hen she begins to refer to the man using ‘you’. The poet experiences love over distance. There is a peacefulness and tranquility about the distance. Unlike ‘I Think Of Thee’ w hich is bursting w ith impatience, the relationship adds depth and m eaning to the poet’s life. There is no plea to be together, or despair, simply a joy at the company they share. Tercets

Reflective

Vicarious

Pronouns

Simultaneous

Measured

Irregular

Profound

Continuous tense

Yearns

Ambiguous

Futile

Tentative

Mundane

Present Participles

Vivid

Romanticised

Consuming

5 KEY QUOTES:

CLEAN COPY ANNOTATION: Annotate the poem from memory

LETTERS FROM YORKSHIRE

By Maura Dooley

In February, digging his garden, planting potatoes, he saw the first lapwings return and came indoors to write to me, his knuckles singing as they reddened in the warmth. It’s not romance, simply how things are. You out there, in the cold, seeing the seasons turning, me with my heartful of headlines feeding words onto a blank screen. Is your life more real because you dig and sow? You wouldn’t say so, breaking ice on a waterbutt, clearing a path through snow. Still, it’s you who sends me word of that other world pouring air and light into an envelope. So that at night, watching the same news in different houses, our souls tap out messages across the icy miles.

HAVE YOU NOTICED: Enjambment Semantic field Caesura Juxtaposition QUESTIONS: 1. 2. 3.

Alliteration Imagery

How does the n atural setting help the poet to explore feelings in this and one other poem of your choice? How is a relationship over a long d istance presented in this poem and one other poem of your choice? How are the feelings o f the speaker/poet communicated in this poem and one K M cCabe 2 016 55 other poem of your choice?

Love’s Philosophy

When We Two Parted

1800

Porphyria’s Lover

by SHELLEY

by B YRON

1816

By B ROWNING

1820

1836

1790 -‐ 1850 ROMANTIC ERA

1837-‐1901 VICTORIAN By B ARRETT B ROWNING ERA Sonnet 2 9: I Think of Thee

1845

1867

1916

Neutral Tones By HARDY

1956

The Farmer's Bride By MEW

Walking Away By DAY LEWIS

Follower By HEANEY

Eden Rock By CAUSLEY

Mother, Any Distance

1963

By ARMITAGE

Letters from Yorkshire

1988

By DOOLEY

1993

2000 Climbing My Grandfather By WATERHOUSE

Winter Swans Before You Were Mine

by SHEERS

Singh Song By NAGRA

By DUFFY

2006 2007

2002

1950 -‐ present MODERN DAY POETS

2013 2016

K M cCabe 2 016

Power and Conflict Poetry Ozymandias, by Percy Bysshe Shelely I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert. Near them on the sand, Half sunk, a shatter'd visage lies, whose frown And wrinkled lip and sneer of cold command Tell that its sculptor well those passions read Which yet survive, stamp'd on these lifeless things, The hand that mock'd them and the heart that fed. And on the pedestal these words appear: "My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!" Nothing beside remains: round the decay Of that colossal wreck, boundless and bare, The lone and level sands stretch far away.

Extract from the Prelude, by William Wordsworth One summer evening (led by her) I found A little boat tied to a willow tree Within a rocky cove, its usual home. Straight I unloosed her chain, and stepping in Pushed from the shore. It was an act of stealth And troubled pleasure, nor without the voice Of mountain-echoes did my boat move on; Leaving behind her still, on either side, Small circles glittering idly in the moon, Until they melted all into one track Of sparkling light. But now, like one who rows, Proud of his skill, to reach a chosen point With an unswerving line, I fixed my view Upon the summit of a craggy ridge, The horizon’s utmost boundary; far above Was nothing but the stars and the grey sky. She was an elfin pinnace; lustily I dipped my oars into the silent lake, And, as I rose upon the stroke, my boat Went heaving through the water like a swan; When, from behind that craggy steep till then The horizon’s bound, a huge peak, black and huge, As if with voluntary power instinct, Upreared its head. I struck and struck again, And growing still in stature the grim shape Towered up between me and the stars, and still, For so it seemed, with purpose of its own And measured motion like a living thing, Strode after me. With trembling oars I turned, And through the silent water stole my way Back to the covert of the willow tree; There in her mooring-place I left my bark, -And through the meadows homeward went, in grave And serious mood; but after I had seen That spectacle, for many days, my brain Worked with a dim and undetermined sense Of unknown modes of being; o’er my thoughts There hung a darkness, call it solitude Or blank desertion. No familiar shapes Remained, no pleasant images of trees, Of sea or sky, no colours of green fields; But huge and mighty forms, that do not live Like living men, moved slowly through the mind

My Last Duchess, by Robert Browning That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek; perhaps Fra Pandolf chanced to say, “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat.” Such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?— too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Sir, ’twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. Who’d stoop to blame This sort of trifling? Even had you skill In speech—which I have not—to make your will Quite clear to such an one, and say, “Just this Or that in you disgusts me; here you miss, Or there exceed the mark”—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse— E’en then would be some stooping; and I choose Never to stoop. Oh, sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretense Of mine for dowry will be disallowed; Though his fair daughter’s self, as I avowed At starting, is my object. Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

Exposure, by Wilfred Owen Our brains ache, in the merciless iced east winds that knive us . . . Wearied we keep awake because the night is silent . . . Low drooping flares confuse our memory of the salient . . . Worried by silence, sentries whisper, curious, nervous, But nothing happens. Watching, we hear the mad gusts tugging on the wire, Like twitching agonies of men among its brambles. Northward, incessantly, the flickering gunnery rumbles, Far off, like a dull rumour of some other war. What are we doing here? The poignant misery of dawn begins to grow . . . We only know war lasts, rain soaks, and clouds sag stormy. Dawn massing in the east her melancholy army Attacks once more in ranks on shivering ranks of grey, But nothing happens. Sudden successive flights of bullets streak the silence. Less deadly than the air that shudders black with snow, With sidelong flowing flakes that flock, pause, and renew, We watch them wandering up and down the wind's nonchalance, But nothing happens.

Tissue,by Imtiaz Dharker Paper that lets the light shine through, this is what could alter things. Paper thinned by age or touching, the kind you find in well-used books, the back of the Koran, where a hand has written in the names and histories, who was born to whom, the height and weight, who died where and how, on which sepia date, pages smoothed and stroked and turned transparent with attention. If buildings were paper, I might feel their drift, see how easily they fall away on a sigh, a shift in the direction of the wind. Maps too. The sun shines through their borderlines, the marks that rivers make, roads, railtracks, mountainfolds,

Pale flakes with fingering stealth come feeling for our faces— We cringe in holes, back on forgotten dreams, and stare, snow-dazed, Deep into grassier ditches. So we drowse, sun-dozed, Fine slips from grocery shops Littered with blossoms trickling where the blackbird fusses. that say how much was sold —Is it that we are dying? and what was paid by credit card might fly our lives like paper kites. Slowly our ghosts drag home: glimpsing the sunk fires, glozed With crusted dark-red jewels; crickets jingle there; An architect could use all this, For hours the innocent mice rejoice: the house is theirs; place layer over layer, luminous Shutters and doors, all closed: on us the doors are closed,— script over numbers over line, We turn back to our dying. and never wish to build again with brick Since we believe not otherwise can kind fires burn; Now ever suns smile true on child, or field, or fruit. For God's invincible spring our love is made afraid; Therefore, not loath, we lie out here; therefore were born, For love of God seems dying. Tonight, this frost will fasten on this mud and us, Shrivelling many hands, and puckering foreheads crisp. The burying-party, picks and shovels in shaking grasp, Pause over half-known faces. All their eyes are ice, But nothing happens. London, by William Blake I wandered through each chartered street, Near where the chartered Thames does flow, A mark in every face I meet, Marks of weakness, marks of woe. In every cry of every man, In every infant's cry of fear, In every voice, in every ban, The mind-forged manacles I hear: How the chimney-sweeper's cry Every blackening church appals, And the hapless soldier's sigh Runs in blood down palace-walls. But most, through midnight streets I hear How the youthful harlot's curse Blasts the new-born infant's tear, And blights with plagues the marriage-hearse.

or block, but let the daylight break through capitals and monoliths, through the shapes that pride can make, find a way to trace a grand design with living tissue, raise a structure never meant to last, of paper smoothed and stroked and thinned to be transparent, turned into your skin.

Storm on the Island, by Seamus Heaney We are prepared: we build our houses squat, Sink walls in rock and roof them with good slate. The wizened earth had never troubled us With hay, so as you can see, there are no stacks Or stooks that can be lost. Nor are there trees Which might prove company when it blows full Blast: you know what I mean - leaves and branches Can raise a chorus in a gale So that you can listen to the thing you fear Forgetting that it pummels your house too. But there are no trees, no natural shelter. You might think that the sea is company, Exploding comfortably down on the cliffs But no: when it begins, the flung spray hits The very windows, spits like a tame cat Turned savage. We just sit tight while wind dives And strafes invisibly. Space is a salvo. We are bombarded by the empty air. Strange, it is a huge nothing that we fear.

Charge of the Light Brigade by Alfred Lord Tennyson I Half a league, half a league, Half a league onward, All in the valley of Death Rode the six hundred. “Forward, the Light Brigade! Charge for the guns!” he said. Into the valley of Death Rode the six hundred. II “Forward, the Light Brigade!” Was there a man dismayed? Not though the soldier knew Someone had blundered. Theirs not to make reply, Theirs not to reason why, Theirs but to do and die. Into the valley of Death Rode the six hundred. III Cannon to right of them, Cannon to left of them, Cannon in front of them Volleyed and thundered; Stormed at with shot and shell, Boldly they rode and well, Into the jaws of Death, Into the mouth of hell Rode the six hundred. IV Flashed all their sabres bare, Flashed as they turned in air Sabring the gunners there, Charging an army, while All the world wondered. Plunged in the battery-smoke Right through the line they broke; Cossack and Russian Reeled from the sabre stroke Shattered and sundered. Then they rode back, but not Not the six hundred. V Cannon to right of them, Cannon to left of them, Cannon behind them Volleyed and thundered; Stormed at with shot and shell, While horse and hero fell. They that had fought so well Came through the jaws of Death, Back from the mouth of hell, All that was left of them, Left of six hundred. VI When can their glory fade? O the wild charge they made! All the world wondered. Honour the charge they made! Honour the Light Brigade, Noble six hundred!

Poppies, by Jane Weir Three days before Armistice Sunday and poppies had already been placed on individual war graves. Before you left, I pinned one onto your lapel, crimped petals, spasms of paper red, disrupting a blockade of yellow bias binding around your blazer.

I see every round as it rips through his life – I see broad daylight on the other side. So we’ve hit this looter a dozen times and he’s there on the ground, sort of inside out, pain itself, the image of agony. One of my mates goes by and tosses his guts back into his body. Then he’s carted off in the back of a lorry. End of story, except not really. His blood-shadow stays on the street, and out on patrol I walk right over it week after week. Then I’m home on leave. But I blink and he bursts again through the doors of the bank. Sleep, and he’s probably armed, and possibly not. Dream, and he’s torn apart by a dozen rounds. And the drink and the drugs won’t flush him out – he’s here in my head when I close my eyes, dug in behind enemy lines, not left for dead in some distant, sun-stunned, sand-smothered land or six-feet-under in desert sand,

Emigree, by Carol Rumens There once was a country… I left it as a child but my memory of it is sunlight-clear for it seems I never saw it in that November which, I am told, comes to the mildest city. The worst news I receive of it cannot break my original view, the bright, filled paperweight. It may be at war, it may be sick with tyrants, but I am branded by an impression of sunlight. The white streets of that city, the graceful slopes glow even clearer as time rolls its tanks and the frontiers rise between us, close like waves. That child’s vocabulary I carried here like a hollow doll, opens and spills a grammar. Soon I shall have every coloured molecule of it. It may by now be a lie, banned by the state but I can’t get it off my tongue. It tastes of sunlight. I have no passport, there’s no way back at all but my city comes to me in its own white plane. It lies down in front of me, docile as paper; I comb its hair and love its shining eyes. My city takes me dancing through the city of walls. They accuse me of absence, they circle me. They accuse me of being dark in their free city. My city hides behind me. They mutter death, and my shadow falls as evidence of sunlight.

On reaching the top of the hill I traced the inscriptions on the war memorial, leaned against it like a wishbone. The dove pulled freely against the sky, an ornamental stitch. I listened, hoping to hear your playground voice catching on the wind. War Photographer, by Carol Ann Duffy In his dark room he is finally alone with spools of suffering set out in ordered rows. The only light is red and softly glows, as though this were a church and he a priest preparing to intone a Mass. Belfast. Beirut. Phnom Penh. All flesh is grass.

Kamikaze, by Beatrice Garland yes, grandfather’s boat – safe Her father embarked at sunrise with a flask of water, a samurai swordto the shore, salt-sodden, awash with cloud-marked mackerel, in the cockpit, a shaven head black crabs, feathery prawns, full of powerful incantations the loose silver of whitebait and once and enough fuel for a one-way a tuna, the dark prince, muscular, dangerous. journey into history but half way there, she thought, recounting it later to her children, he must have looked far down at the little fishing boats strung out like bunting on a green-blue translucent sea

and remembered how he and his brothers waiting on the shore built cairns of pearl-grey pebbles to see whose withstood longest the turbulent inrush of breakers bringing their father’s boat safe -

He has a job to do. Solutions slop in trays beneath his hands, which did not tremble then though seem to now. Rural England. Home again to ordinary pain which simple weather can dispel, to fields which don’t explode beneath the feet of running children in a nightmare heat. Something is happening. A stranger’s features faintly start to twist before his eyes, a half-formed ghost. He remembers the cries of this man’s wife, how he sought approval without words to do what someone must and how the blood stained into foreign dust. A hundred agonies in black and white from which his editor will pick out five or six for Sunday’s supplement. The reader’s eyeballs prick with tears between the bath and pre-lunch beers. From the aeroplane he stares impassively at where

And though he came back my mother never spoke again in his presence, nor did she meet his eyes and the neighbours too, they treated him as though he no longer existed, only we children still chattered and laughed

and beneath them, arcing in swathestill gradually we too learned like a huge flag waved first one way to be silent, to live as though he had never returned, that this then the other in a figure of eight, was no longer the father we loved. the dark shoals of fishes And sometimes, she said, he must have flashing silver as their bellies wondered swivelled towards the sun which had been the better way to die.

Bayonet Charge, by Ted Hughes

but near to the knuckle, here and now, his bloody life in my bloody hands.

slowly melting. I was brave, as I walked with you, to the front door, threw it open, the world overflowing like a treasure chest. A split second and you were away, intoxicated. After you'd gone I went into your bedroom, released a song bird from its cage. Later a single dove flew from the pear tree, and this is where it has led me, skirting the church yard walls, my stomach busy making tucks, darts, pleats, hat-less, without a winter coat or reinforcements of scarf, gloves.

INNER CONFLICT e.g. Poppies, Kamikaze, War Photographer

Threw up a yellow hare that rolled like a flame And crawled in a threshing circle, its mouth wide Open silent, its eyes standing out. He plunged past with his bayonet toward the green hedge, King, honour, human dignity, etcetera Dropped like luxuries in a yelling alarm To get out of that blue crackling air His terror’s touchy dynamite.

Sellotape bandaged around my hand, I rounded up as many white cat hairs as I could, smoothed down your shirt's upturned collar, steeled the softening of my face. I wanted to graze my nose across the tip of your nose, play at being Eskimos like we did when you were little. I resisted the impulse to run my fingers through the gelled blackthorns of your hair. All my words flattened, rolled, turned into felt,

PRIDE/GLORY e.g. Ozymandias, My Last Duchess, Charge of the Light Brigade, London

In bewilderment then he almost stopped – In what cold clockwork of the stars and the nations Was he the hand pointing that second? He was running Like a man who has jumped up in the dark and runs Listening between his footfalls for the reason Of his still running, and his foot hung like Statuary in mid-stride. Then the shot-slashed furrows

Well myself and somebody else and somebody else are all of the same mind, so all three of us open fire. Three of a kind all letting fly, and I swear

NATURE e.g. Storm on the Island, Exposure, Extract from the Prelude

Suddenly he awoke and was running – raw In raw-seamed hot khaki, his sweat heavy, Stumbling across a field of clods towards a green hedge That dazzled with rifle fire, hearing Bullets smacking the belly out of the air – He lugged a rifle numb as a smashed arm; The patriotic tear that had brimmed in his eye Sweating like molten iron from the centre of his chest, –

Remains by Simon Armitage On another occasion, we got sent out to tackle looters raiding a bank. And one of them legs it up the road, probably armed, possibly not.

KEY THEMES PAST/IDENTITY e.g. Emigree, Checking out me History, Tissue VIOLENCE e.g. Remains, Exposure, Bayonet Charge, Charge of the Light Brigade Checking out me History, by John Agard Dem tell me Dem tell me Wha dem want to tell me Bandage up me eye with me own history Blind me to me own identity Dem tell me bout 1066 and all dat dem tell me bout Dick Whittington and he cat But Toussaint L’Ouverture no dem never tell me bout dat Toussaint a slave with vision lick back Napoleon battalion and first Black Republic born Toussaint de thorn to de French Toussaint de beacon of de Haitian Revolution Dem tell me bout de man who discover de balloon and de cow who jump over de moon Dem tell me bout de dish ran away with de spoon but dem never tell me bout Nanny de maroon Nanny see-far woman of mountain dream fire-woman struggle hopeful stream to freedom river Dem tell me bout Lord Nelson and Waterloo but dem never tell me bout Shaka de great Zulu Dem tell me bout Columbus and 1492 but what happen to de Caribs and de Arawaks too Dem tell me bout Florence Nightingale and she lamp and how Robin Hood used to camp Dem tell me bout ole King Cole was a merry ole soul but dem never tell me bout Mary Seacole From Jamaica she travel far to the Crimean War she volunteer to go and even when de British said no she still brave the Russian snow a healing star among the wounded a yellow sunrise to the dying Dem tell me Dem tell me wha dem want to tell me But now I checking out me own history I carving out me identity

Conflict and Power Poetry – Knowledge Organiser Remains by Simon Armitage

Exposure by Wilfred Owen

Poppies by Jane Weir

Themes: Conflict, Suffering, Nature, Reality of War, Patriotism Tones: Tragic, Haunting, Dreamy Content, Meaning and Purpose Context -Speaker describes war as a battle against the weather -Written in 1917 before Owen went on to win the and conditions. Military Cross for bravery, and was then killed in battle -Imagery of cold and warm reflect the delusional mind in 1918: the poem has authenticity as it is written by of a man dying from hypothermia. an actual soldier. -Owen wanted to draw attention to the suffering, - Of his work, Owen said: “My theme is war and the monotony and futility of war. pity of war”. -Despite highlighting the tragedy of war and mistakes of senior commanders, he had a deep sense of duty: “not loath, we lie out here” shows that he was not bitter about his suffering. Language Form and Structure -“Our brains ache” physical (cold) suffering and mental -Contrast of Cold>Warm>Cold imagery coveys (PTSD or shell shock) suffering. Suffering>Delusions>Death of the hypothermic soldier. -Semantic field of weather: weather is the enemy. -Repetition of “but nothing happens” creates circular -“the merciless iced east winds that knive us…” – structure implying never ending suffering personification (cruel and murderous wind); sibilance -Rhyme scheme ABBA and hexameter gives the poem (cutting/slicing sound of wind); ellipsis (never-ending). structure and emphasises the monotony. -Repetition of pronouns ‘we’ and ‘our’ – conveys -Pararhymes (half rhymes) (“nervous / knife us”) only togetherness and collective suffering of soldiers. barely hold the poem together, like the men. -‘mad gusts tugging on the wire’ – personification

Themes: Bravery, Reality of War, Suffering, Childhood Content, Meaning and Purpose -A modern poem that offers an alternative interpretation of bravery in conflict: it does not focus on a soldier in battle but on the mother who is left behind and must cope with his death. -The narration covers her visit to a war memorial, interspersed with images of the soldier’s childhood and his departure for war.

Tones: Tender, Tragic, Dreamy, Bitter Context -Set around the time of the Iraq and Afghan wars, but the conflict is deliberately ambiguous to give the poem a timeless relevance to all mothers and families. -There are hints of a critical tone; about how soldiers can become intoxicated by the glamour or the military: “a blockade of yellow bias” and “intoxicated”.

Language -Contrasting semantic fields of home/childhood (“cat hairs”, “play at being Eskimos”, “bedroom”) with war/injury (“blockade”, bandaged”, “reinforcements”) -Aural (sound) imagery: “All my words flattened, rolled, turned into felt” shows pain and inability to speak, and “I listened, hoping to hear your playground voice catching on the wind” shows longing for dead son. -“I was brave, as I walked with you, to the front door”: different perspective of bravery in conflict.

Form and Structure -This is an Elegy, a poem of mourning. -Strong sense of form despite the free verse, stream of consciousness addressing her son directly – poignant -No rhyme scheme makes it melancholic -Enjambment gives it an anecdotal tone. -Nearly half the lines have caesura – she is trying to hold it together, but can’t speak fluently as she is breaking inside. -Rich texture of time shifts, and visual, aural and touch imagery.

Charge of the Light Brigade by Alfred, Lord Tennyson

Bayonet Charge by Ted Hughes

War Photographer

Themes: Conflict, Suffering, Reality of War, Patriotism Content, Meaning and Purpose - Published six weeks after a disastrous battle against the Russians in the (unpopular) Crimean War -Describes a cavalry charge against Russians who shoot at the lightly-armed British with cannon from three sides of a long valley. -Of the 600 hundred who started the charge, over half were killed, injured or taken prisoner. -It is a celebration of the men’s courage and devotion to their country, symbols of the might of the British Empire.

Themes: Conflict, Power, Reality of War, Nature, Bravery, Patriotism Tones: Bewildered, Desperate, Dreamy Content, Meaning and Purpose Context -Describes the terrifying experience of ‘going over the -Published in 1957, but most-likely set in World War 1. top’: fixing bayonets (long knives) to the end of rifles -Hughes’ father had survived the battle of Gallipoli in and leaving a trench to charge directly at the enemy. World War 1, and so he may have wished to draw -Steps inside the body and mind of the speaker to attention to the hardships of trench warfare. show how this act transforms a soldier from a living -He draws a contrast between the idealism of thinking person into a dangerous weapon of war. patriotism and the reality of fighting and killing. (“King, -Hughes dramatises the struggle between a man's honour, human dignity, etcetera”) thoughts and actions.

Themes: Conflict, Suffering, Reality of War Content, Meaning and Purpose -Tells the story of a war photographer developing photos at home in England: as a photo develops he begins to remember the horrors of war – painting a contrast to the safety of his dark room. -He appears to be returning to a warzone at the end of the poem. -Duffy conveys both the brutality of war and the indifference of those who might view the photos in newspapers and magazines: those who live in comfort and are unaffected by war.

Tones: Painful, Detached, Angry Context -Like Tennyson and Ted Hughes, Duffy was the Poet Laureate. -Duffy was inspired to write this poem by her friendship with a war photographer. She was intrigued by the challenge faced by these people whose job requires them to record terrible, horrific events without being able to directly help their subjects. -The location is ambiguous and therefore universal: (“Belfast. Beirut. Phnom Penh.”)

Language “The patriotic tear that brimmed in his eye Sweating like molten iron”: his sense of duty (tear) has now turned into the hot sweat of fear and pain. “cold clockwork of the stars and nations”: the soldiers are part of a cold and uncaring machine of war. “his foot hung like statuary in midstride.”: he is frozen with fear/bewilderment. The caesura (full stop) jolts him back to reality. “a yellow hare that rolled like a flame And crawled in a threshing circle”: impact of war on nature – the hare is distressed, just like the soldiers

Language “All flesh is grass”: Biblical reference that means all human life is temporary – we all die eventually. “He has a job to do”: like a soldier, the photographer has a sense of duty. “running children in a nightmare heat”: emotive imagery with connotations of hell. “blood stained into a foreign dust”: lasting impact of war – links to Remains and ‘blood shadow’. “he earns a living and they do not care”: ‘they’ is ambiguous – it could refer to readers or the wider world.

Form and Structure -Enjambment – reinforces the sense that the world is out of order and confused. -Rhyme reinforces the idea that he is trying to bring order to a chaotic world – to create an understanding. -Contrasts: imagery of rural England and nightmare war zones. -Third stanza: A specific image – and a memory – appears before him.

Themes: Conflict, Suffering, Reality of War Content, Meaning and Purpose -Written to coincide with a TV documentary about those returning from war with PTSD. Based on Guardsman Tromans, who fought in Iraq in 2003. -Speaker describes shooting a looter dead in Iraq and how it has affected him. -To show the reader that mental suffering can persist long after physical conflict is over.

Language -“Remains” - the images and suffering remain. -“Legs it up the road” - colloquial language = authentic voice -“Then he's carted off in the back of a lorry” – reduction of humanity to waste or cattle -“he’s here in my head when I close my eyes / dug in behind enemy lines” – metaphor for a war in his head; the PTSD is entrenched. -“his bloody life in my bloody hands” – alludes to Macbeth: Macbeth the warrior with PTSD and Lady Macbeth’s bloody hands and guilt.

Language -“Into the valley of Death”: this Biblical imagery portrays war as a supremely powerful, or even spiritual, experience. -“jaws of Death” and “mouth of Hell”: presents war as an animal that consumes its victims. -“Honour the Light Brigade/Noble six hundred”: language glorifies the soldiers, even in death. The ‘six hundred’ become a celebrated and prestigious group. -“shot and shell”: sibilance creates whooshing sounds of battle.

Tones: Tragic, Haunting, Anecdotal Context -“These are poems of survivors – the damaged, exhausted men who return from war in body but never, wholly, in mind.” Simon Armitage -Poem coincided with increased awareness of PTSD amongst the military, and aroused sympathy amongst the public – many of whom were opposed to the war.

Form and Structure -Monologue, told in the present tense to convey a flashback (a symptom of PTSD). -First four stanzas are set in Iraq; last three are at home, showing the aftermath. -Enjambment between lines and stanzas conveys his conversational tone and gives it a fast pace, especially when conveying the horror of the killing -Repetition of ‘Probably armed, Possibly not” conveys guilt and bitterness.

Tones: Energetic, Tragic, Haunting Context -As Poet Laureate, he had a responsibility to inspire the nation and portray the war in a positive light: propaganda. -Although Tennyson glorifies the soldiers who took part, he also draws attention to the fact that a commander had made a mistake: “Someone had blunder’d”. -This was a controversial point to make in Victorian times when blind devotion to power was expected.

Form and Structure -This is a ballad, a form of poetry to remember historical events – we should remember their courage. -6 verses, each representing 100 men who took part. -First stanza tightly structured, mirroring the cavalry formation. Structure becomes awkward to reflect the chaos of battle and the fewer men returning alive. -Dactylic dimeter (HALF-a leaugue / DUM-de-de) mirrors the sound of horses galloping and increases the poem’s pace. -Repetition of ‘the six hundred’ at the end of each stanza (epistrophe) emphasises huge loss.

Form and Structure -The poem starts ‘in medias res’: in the middle of the action, to convey shock and pace. -Enjambment maintains the momentum of the charge. -Time stands still in the second stanza to convey the soldier’s bewilderment and reflective thoughts. -Contrasts the visual and aural imagery of battle with the internal thoughts of the soldier = adds to the confusion.

Kamikaze by Beatrice Garland

The Emigree by Carol Rumens

Checking Out Me History by John Agard

Themes: Conflict, Power, Patriotism, Shame, Nature, Childhood Tones: Sorrowful, Pitiful Content, Meaning and Purpose Context -In World War 2, Japanese Kamikaze pilots would fly -Cowardice or surrender was a great shame in wartime manned missiles into targets such as ships. Japan. -This poem explores a kamikaze pilot’s journey -To surrender meant shame for you and your family, towards battle, his decision to return, and how he is and rejection by society: “he must have wondered shunned when he returns home. which had been the better way to die”. -As he looks down at the sea, the beauty of nature and memories of childhood make him decide to turn back.

Themes: Conflict, Power, Identity, Protest, Bravery, Childhood Tones: Mournful, Defiant, Nostalgic Content , Meaning and Purpose Context -‘Emigree’ – a female who is forced to leave their -Emigree was published in 1993. The home country of county for political or social reasons. the speaker is not revealed – this ambiguity gives the -The speaker describes her memories of a home city poem a timeless relevance. that she was forced to flee. The city is now “sick with -Increasingly relevant to many people in current world tyrants”. climate -Despite the cities problems, her positive memories of the place cannot be extinguished.

Themes: Power, Protest, Identity, Childhood Content, Meaning and Purpose -Represents the voice of a black man who is frustrated by the Eurocentric history curriculum in the UK – which pays little attention to the black history. -Black history is quoted to emphasise its separateness and to stress its importance.

Tones: Defiant, Angry, Rebellious, Cynical Context -John Agard was born in the Caribbean in 1949 and moved to the UK in the 1970s. -His poetry challenge racism and prejudice. -This poem may, to some extent, have achieved its purpose: in 2016, a statue was erected in London in honour of Mary Seacole, one of the subjects of the poem.

Language -The Japanese word ‘kamikaze’ means ‘divine wind’ or ‘heavenly wind’, and has its origin in a heaven-sent storm that scattered an invading fleet in 1250. -“dark shoals of fish flashing silver”: image links to a Samurai sword – conveys the conflict between his love for nature/life and his sense of duty. Also has sibilance. - “they treated him as though he no longer existed”: cruel irony – he chose to live but now must live as though he is dead. -“was no longer the father we loved”: the pilot was forever affected by his decision.

Language -“I left it as a child”: ambiguous meaning – either she left when she was a child or the city was a child (it was vulnerable and she feels a responsibility towards it). -“I am branded by an impression of sunlight”: imagery of light - it will stay with her forever. -Personification of the city: “I comb its hair and love its shining eyes” (she has a maternal love for the city) and “My city takes me dancing” (it is romantic and passionate lover) -“My city hides behind me”: it is vulnerable and – despite the fact that she had to flee – she is strong. -Semantic field of conflict: “Tyrant, tanks, frontiers”

Language -Imagery of fire and light used in all three stanzas regarding black historic figures: “Toussaint de beacon”, “Fire-woman”, “yellow sunrise”. -Uses non-standard phonetic spelling (“Dem tell me wha dem want”, to represent his own powerful accent and mixes Caribbean Creole dialect with standard English. -“I carving out me identity”: metaphor for the painful struggle to be heard, and to find his identity.

Form -Dramatic monologue, with a dual structure. -Stanzas concerning Eurocentric history (normal font) are interspersed with stanzas on black history (in italics to represent separateness and rebellion). - Black history sections arranged as serious lessons to be learned; traditional history as nursery rhymes, mixed with fairytales (mocking of traditional history). - The lack of punctuation, the stanzas in free verse, the irregular rhyme scheme and the use of Creole could represent the narrator’s rejection of the rules. -Repetition of “Dem tell me”: frustration.

Form and Structure -Narrative and speaker is third person, representing the distance between her and her father, and his rejection by society. -The first five stanzas are ordered (whilst he is flying on his set mission). -Only full stop is at the end of Stanza Five: he has made his decision to turn back. -The final two are in italics and have longer line to represent the fallout of his decision: his life has shifted and will no longer be the same. -Direct speech (“My mother never spoke again”) gives the poem a personal tone.

Form and Structure -First person. -The last line of each stanza is the same (epistrophe): “sunlight”: reinforces the overriding positivity of the city and of the poem. -The first two stanzas have lots of enjambment – conveys freedom. The final stanza has lots of full-stops – conveys that fact that she is now trapped.

My Last Duchess by Robert Browning

Ozymandias by Percy Bysshe Shelley Themes: Power of Nature, Decay, Pride Content, Meaning and Purpose -The narrator meets a traveller who tells him about a decayed stature that he saw in a desert. -The statue was of a long forgotten ancient King: the arrogant Ozymandias, ‘king of kings.’ -The poem is ironic and one big metaphor: Human power is only temporary – the statue now lays crumbled in the sand, and even the most powerful human creations cannot resist the power of nature.

Tones: Ironic, rebellious Context -Shelley was a poet of the ‘Romantic period’ (late 1700s and early 1800s). Romantic poets were interested in emotion and the power of nature. -Shelley also disliked the concept of a monarchy and the oppression of ordinary people. -He had been inspired by the French revolution – when the French monarchy was overthrown.

Language -‘sneer of cold command’: the king was arrogant, this has been recognised by the sculptor, the traveller and then the narrator. -‘Look on my works, ye Mighty, and despair.’: ‘Look’ = imperative, stressed syllable highlights commanding tone; ironic – he is telling other ‘mighty’ kings to admire the size of his statue and ‘despair’, however they should really despair because power is only temporary. ‘The lone and level sands stretch far away.’: the desert is vast, lonely, and lasts far longer than a statue.

Form and Structure -A sonnet (14 lines) but with an unconventional structure… the structure is normal until a turning point (a volta) at Line 9 (..these words appear). This reflects how human structures can be destroyed or decay. -The iambic pentameter rhyme scheme is also disrupted or decayed. -First eight lines (the octave) of the sonnet: the statue is described in parts to show its destruction. -Final two lines: the huge and immortal desert is described to emphasise the insignificance of human power and pride.

Themes: Power, Pride, Control, Jealousy, Status Content, Meaning and Purpose -The Duke is showing a visitor around his large art collection and proudly points out a portrait of his last wife, who is now dead. He reveals that he was annoyed by her over-friendly and flirtatious behaviour. -He can finally control her by objectifying her and showing her portrait to visitors when he chooses. - He is now alone as a result of his need for control. -The visitor has come to arrange the Duke’s next marriage, and the Duke’s story is a subtle warning about how he expects his next wife to behave. Language -‘Looking as if she was alive’: sets a sinister tone. -‘Will’t please you sit and look at her?’ rhetorical question to his visitor shows obsession with power. -‘she liked whate’er / She looked on, and her looks went everywhere.’: hints that his wife was a flirt. -‘as if she ranked / My gift of a nine-hundred-yearsold name / With anybody’s gift’: she was beneath him in status, and yet dared to rebel against his authority. -‘I gave commands; Then all smiles stopped together’: euphemism for his wife’s murder. -‘Notice Neptune, though / Taming a sea-horse’: he points out another painting, also about control.

Extract from The Prelude: Stealing the Boat by William Wordsworth

Storm on the Island by Seamus Heaney

Themes: Power of Nature, Fear, Childhood Content, Meaning and Purpose -The story of a boy’s love of nature and a night-time adventure in a rowing boat that instils a deeper and fearful respect for the power of nature. -At first, the boy is calm and confident, but the sight of a huge mountain that comes into view scares the boy and he flees back to the shore. -He is now in awe of the mountain and now fearful of the power of nature which are described as ‘huge and mighty forms, that do not live like living men.’ -We should respect nature and not take it for granted. Language -‘One summer evening (led by her)’: ‘her’ might be nature personified – this shows his love for nature. -‘an act of stealth / And troubled pleasure’: confident, but the oxymoron suggests he knows it’s wrong; forebodes the troubling events that follow. -‘nothing but the stars and grey sky’: emptiness of sky. -‘the horizon’s bound, a huge peak, black and huge’: the image of the mountain is more shocking (contrast). -‘Upreared its head’ and ‘measured motion like a living thing’: the mountain is personified as a powerful beast, but calm – contrasts with his own inferior panic. -‘There hung a darkness’: lasting effects of mountain.

Themes: Power of Nature, Fear Content, Meaning and Purpose -The narrator describes how a rural island community prepared for a coming storm, and how they were confident in their preparations. -When the storm hits, they are shocked by its power: its violent sights and sounds are described, using the metaphor of war. -The final line of the poem reveals their fear of nature’s power

Tones: Confident > Dark / Fearful > Reflective Context -Published shortly after his death, The Prelude was a very long poem (14 books) that told the story of William Wordsworth’s life. -This extract is the first part of a book entitled ‘Introduction – Childhood and School-Time’. -Like Percy Shelley, Wordsworth was a romantic poet and so his poetry explores themes of nature, human emotion and how humans are shaped by their interaction with nature. Form and Structure -First person narrative – creates a sense that it is a personal poem. -The regular rhythm and enjambment add to the effect of natural speech and a personal voice. -The extract can be split into three sections, each with a different tone to reflect his shifting mood: Lines 1-20: (rowing) carefree and confident Lines 21-31: (the mountain appears) dark and fearful Lines 32-44: (following days) reflective and troubled -Contrasts in tone: ‘lustily I dipped my oars into the silent lake’ versus ‘I struck and struck again’ and ‘with trembling oars I turned’.

Key themes and connections: poems that you might choose to compare

Language -‘Nor are there trees which might prove company’: the island is a lonely, barren place. -Violent verbs are used to describe the storm: ‘pummels’, ‘exploding’, ‘spits’. -Semantic field of war: ‘Exploding comfortably’ (also an oxymoron to contrast fear/safety); ‘wind dives and strafes invisibly’ (the wind is a fighter plane); ‘We are bombarded by the empty air’ (under ceaseless attack). -This also reinforces the metaphor of war / troubles. -‘spits like a tame cat turned savage’: simile compares the nature to an animal that has turned on its owner.

Language for comparison When poems have similarities Similarly, … Both poems convey / address… Both poets explore / present… This idea is also explored in… In a similar way, … Likewise, … When poems have differences Although… Whereas… Whilst… In contrast, … Conversely, … On the other hand, … On the contrary, …

Unlike…

Tissue by Imtiaz Dharker Tones: Sinister, Bitter, Angry Context -Browning was a British poet, and lived in Italy. The poem was published in 1842. -Browning may have been inspired by the story of an Italian Duke (Duke of Ferrara): his wife died in suspicious circumstances and it was rumoured that she had been poisoned.

Form and Structure -Dramatic Monologue, in iambic pentameter. -It is a speech, pretending to be a conversation – he doesn’t allow the other person to speak! -Enjambment: rambling tone, he’s getting carried away with his anger. He is a little unstable. -Heavy use of caesura (commas and dashes): stuttering effect shows his frustration and anger: ‘She thanked men, – good! but thanked / Somehow – I know not how’ -Dramatic Irony: the reader can read between the lines and see that the Duke’s comments have a much more sinister undertone.

Themes: Power of Nature, Control, Identity Content, Meaning and Purpose -Two different meanings of ‘Tissue’ (homonyms) are explored: firstly, the various pieces of paper that control our lives (holy books, maps, grocery receipts); secondly, the tissue of a human body. -The poet explores the paradox that although paper is fragile, temporary and ultimately not important, we allow it to control our lives. -Also, although human life is much more precious, it is also fragile and temporary.

Tones: Gentle, Flowing, Ethereal Context -Imtiaz Dharker was born in Pakistan and grew up in Glasgow. ‘Tissue’ is taken from a 2006 collection of poems entitles ‘The Terrorist at My Table’: the collection questions how well we know people around us. -This particular poem also questions how well we understand ourselves and the fragility of humanity.

Language -Semantic field of light: (‘Paper that lets light shine through’, ‘The sun shines through their borderlines’, ‘let the daylight break through capitals and monoliths’) emphasises that light is central to life, a positive and powerful force that can break through ‘tissue’ and even monoliths (stone statues). -‘pages smoothed and stroked and turned’: gentle verbs convey how important documents such as the Koran are treated with respect. -‘Fine slips […] might fly our lives like paper kites’: this simile suggests that we allow ourselves to be controlled by paper.

Form and Structure -The short stanzas create many layers, which is a key theme of the poem (layers of paper and the creation of human life through layers) -The lack of rhythm or rhyme creates an effect of freedom and openness. -All stanzas have four lines, except the final stanza which has one line (‘turned into your skin’): this line focuses on humans, and addresses the reader directly to remind us that we are all fragile and temporary. -Enjambment between lines and stanzas creates an effect of freedom and flowing movement.

London by William Blake Tones: Dark, Violent, Anecdotal Context -Seamus Heaney was Northern Irish, he died in 2013. -This poem was published in 1966 at the start of ‘The Troubles’ in Northern Ireland: a period of deep unrest and violence between those who wanted to remain part of the UK and those who wanted to become part of Ireland. -The first eight letters of the title spell ‘Stormont’: this is the name of Northern Ireland’s parliament. The poem might be a metaphor for the political storm that was building in the country at the time. Form and Structure -Written in blank verse and with lots of enjambment: this creates a conversational and anecdotal tone. -‘We’ (first person plural) creates a sense of community, and ‘You’ (direct address) makes the reader feel immersed in the experience. -The poem can split into three sections: Confidence: ‘We are prepared:’ (ironic) The violence of the storm: ‘It pummels your house’ Fear: ‘it is a huge nothing that we fear.’ -There is a turning point (a volta) in Line 14: ‘But no:’. This monosyllabic phrase, and the caesura, reflects the final calm before the storm.

Themes: Power, Inequality, Loss, Anger Content, Meaning and Purpose -The narrator is describing a walk around London and how he is saddened by the sights and sounds of poverty. -The poem also addresses the loss of innocence and the determinism of inequality: how new-born infants are born into poverty. -The poem uses rhetoric (persuasive techniques) to convince the reader that the people in power (landowners, Church, Government) are to blame for this inequality. Language -Sensory language creates an immersive effect: visual imagery (‘Marks of weakness, marks of woe’) and aural imagery (‘cry of every man’) -‘mind-forged manacles’: they are trapped in poverty. -Rhetorical devices to persuade: repetition (‘In every..’); emotive language (‘infant’s cry of fear’). -Criticises the powerful: ‘each chartered street’ – everything is owned by the rich; ‘Every black’ning church appals’ - the church is corrupt; ‘the hapless soldier’s sigh / Runs in blood down palace walls’ – soldier’s suffer and die due to the decisions of those in power, who themselves live in palaces.

Assessment Objectives

Poetic Techniques

Ensure that your answer covers all of these areas: AO1  Write a response related to the key word in the question.  Use comparative language to explore both poems.  Use a range of evidence to support your response and to show the meaning of the poems. AO2  Comment on the effect of the language in your evidence, including individual words.  Identify any use of poetic techniques and explain their effects. AO3  What might the poet’s intentions have been when they wrote the poem?  Comment on the historical context – when was the poem published and what impact might it have had then, and today?

LANGUAGE Metaphor – comparing one thing to another Simile – comparing two things with ‘like’ or ‘as’ Personification – giving human qualities to the nonhuman Imagery – language that makes us imagine a sight (visual), sound (aural), touch (tactile), smell or taste. Tone – the mood or feeling created in a poem. Pathetic Fallacy – giving emotion to weather in order to create a mood within a text. Irony – language that says one thing but implies the opposite eg. sarcasm. Colloquial Language – informal language, usually creates a conversational tone or authentic voice. Onomatopoeia – language that sounds like its meaning. Alliteration – words that are close together start with the same letter or sound. Sibilance – the repetition of s or sh sounds. Assonance – the repetition of similar vowel sounds Consonance – repetition of consonant sounds. Plosives – short burst of sound: t, k, p, d, g, or b sound.

Tones: Angry, Dark, Rebellious Context -The poem was published in 1794, and time of great poverty is many parts of London. -William Blake was an English poet and artist. Much of his work was influenced by his radical political views: he believed in social and racial equality. -This poem is part of the ‘Songs of Experience’ collection, which focuses on how innocence is lost and society is corrupt. -He also questioned the teachings of the Church and the decisions of Government. Form and Structure -A dramatic monologue, there is a first-person narrator (‘I) who speaks passionately about what he sees. -Simple ABAB rhyme scheme: reflects the unrelenting misery of the city, and perhaps the rhythm of his feet as he trudges around the city. -First two stanzas focus on people; third stanza focuses on the institutions he holds responsible; fourth stanza returns to the people – they are the central focus.

STRUCTURE Stanza – a group of lines in a poem. Repetition – repeated words or phrases Enjambment – a sentence or phrase that runs onto the next line. Caesura – using punctuation to create pauses or stops. Contrast – opposite concepts/feelings in a poem. Juxtaposition – contrasting things placed side by side. Oxymoron – a phrase that contradicts itself. Anaphora – when the first word of a stanza is the same across different stanzas. Epistrophe – when the final word of a stanza is the same across different stanzas. Volta – a turning point in a poem. FORM Speaker – the narrator, or person in the poem. Free verse – poetry that doesn’t rhyme. Blank verse – poem in iambic pentameter, but with no rhyme. Sonnet – poem of 14 lines with clear rhyme scheme. Rhyming couplet – a pair of rhyming lines next to each other. Meter – arrangement of stressed/unstressed syllables. Monologue – one person speaking for a long time.

Prose Conventions Knowledge Organiser: Characters

Meaning

Antagonist

A character or a nonhuman force that opposes, or is in conflict with, the protagonist. The main character in a work, whether male or female, heroic or non-‐heroic

Protagonist Direct Characterisation Indirect characterisation

Direct characterization or direct definition occurs when the narrator explicitly tells what a character is like.

Lang & Meaning cont’d Verbal irony Situational irony Dramatic irony

Meaning

when a word or expression in context means something different from, and usually the opposite of, what it appears to mean occurs when the character’s actions have an opposite effect from what was intended, or lead to a reversal of expectation or unexpected. occurs when there is a gap between what an audience knows and what a character believes or expects;

Monologue

A speech of more than a few sentences, usually in a play but also in other genres, spoken by one person and uninterrupted by the speech of anyone else.

Style

A distinctive manner of expression; an author’s style results from a combination of aspects, such as diction, rhythm, imagery, and so on.

Symbolism

Major character

Indirect characterization or indirect presentation occurs when the narrative reveals a character’s trait/s implicitly, through his or her speech, behaviour, thoughts, appearance, and so on A protagonist who is the very opposite of a traditional hero. Instead of being courageous and determined, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). central character that receives most attention.

Minor character

marginal or secondary character that receives less attention

Tone

A person, place, thing, or event that figuratively represents or stands for something else. Often the thing or idea represented is more abstract and the symbol is more concrete. 1) Broadly and commonly, an idea explored in a literary work (e.g. “the value of all life”). 2) More narrowly, the insight about a topic communicated in a work (e.g. “All living things are equally precious”). The attitude a literary work takes toward its subject, especially the way diction reveals it

Flat Vs Round character

Flat character: relatively simple and two-dimensional character with few traits and predictable behavior or responses. Round character: complex, multifaceted character capable of surprising the readers. Static characters do not change while dynamic characters do.

Plot & Structure

Meaning

Dynamic Vs Static characters Language & Meaning Meaning A brief, often implicit and indirect reference within a literary text to something Allusion

Action

Any event or series of events depicted in a literary work.

Anticlimax

An event or series of events usually at the end of a narrative that contrast with the tension building up before

Climax

Ambiguity

Complication

The third part of plot (see Freytag’s pyramid), the point at which the action stops rising and begins falling or reversing; also called turning point. In plot, an action or event that introduces a new conflict or intensifies the existing one, especially during the rising action phase of plot. Also called resolution, the fifth and last phase or part of plot, the point at which the conflictive or destabilized situation at the beginning becomes stable once more and the conflict is resolved. In plot, the moment when the conflict comes to a head, often requiring the character to make a decision. French (untying): a phase following the conclusion in which any loose ends are tied up. The first phase or part of plot (see Freytag’s pyramid), which sets the scene, introduces and identifies characters, while establishing the situation at the beginning of a story. 4/5 stages in which conflict or conflicts move toward resolution. (literally, “all-‐knowing”) describe the inner thoughts and feelings of multiple characters.

Anti-‐hero Archetype

Conflict (external)

outside the text e.g Bible A word, phrase or situation where there are two or more possible meanings and it is unclear which is the correct one. pits a character against something or someone outside himself or herself—another character or characters or something in nature or society.

Theme

Conclusion / Resultion Crisis

Dialogue

happens when the opposing forces are two drives, impulses, or parts of a single character. the representation of an oral exchange involving two or more characters.

Colloquial Diction

resembles everyday speech

Exposition

Formal Diction Flashback

lofty, impersonal, and dignified language A plot-‐structuring device inserting a scene from the fictional past into the fictional present.

Falling Action Omniscient narrator

Conflict (internal)

Denouement

Flashforward Foreshadowing (proleptic irony) Freytag’s Pyramid

A plot-‐structuring device inserting a scene from the fictional future into the fictional present. A hint or clue about what will happen at a later moment in the plot

Ltd narrator Detached narrator Unreliable narrator

relate the thoughts, feelings, and perceptions of only one character (the central consciousness). Objective or detached narrators (acting as “camera eye”) reveal nothing of characters’ thoughts and feelings, but report only actions, dialogue and behavior. Causes the reader to view the account of events with suspicion, as opposed to a reliable narrator, whose judgment and narration the readers may trust.

Inciting incident

An action that sets a plot in motion by creating conflict.

Point of View

In Medias Res

Opening of the plot in the middle of the action, and then filling in past details by means of flashback.

Stream of consciousness

Plot

The deliberate arrangement of the action of a story.

Voice

Rising Action

2/5 phases (see Freytag’s pyramid), in which events complicate the situation Setting: time existing at the beginning of a work by intensifying the initial conflict or introducing a and place new one. A section or subdivision of narrative that presents continuous action in one specific Spatial setting setting.

Meaning

Temporal setting Narrator time

the period in time in which action unfolds (temporal setting is thus the same as plot time.)

Plot time

when the action depicted in the work supposedly takes place (in other words, the work’s temporal setting).

Scene Narration & Perspective Narration Narrative frame Internal narrator External narrator st 1 person rd

3 person

1) Broadly, the act of telling a story or recounting a narrative. 2) More narrowly, the portions of a narrative attributable to the narrator rather than words spoken by characters (that is, dialogue). a frame recounts the telling of another narrative or story that thus “frames” the inner or framed narrative. a character within the work telling the story to an equally fictional auditor or listener An external narrator is not a character. an internal narrator who consistently refers to himself or herself using the first-‐ person pronoun I. A third-‐person narrator uses third-‐person pronouns such as she, he, they, it, and so on; almost always external narrators.

The perspective from which people, events, and other details in a work of fiction are viewed A type of third-‐ or first-‐person narration that replicates the thought processes of a character without much or any intervention by a narrator. the speaker; the “person” telling the story and that person’s particular qualities of insight, attitude, and verbal style

the place or places in which action unfolds.

time when the narrator in a work of fiction supposedly narrates the story

Thoughts/feelings which could be conveyed Aggravation Agitation Alienation Anguish Apprehension Bashfulness Bewilderment Compassion Contemptuousness Discouragement Dismay Eagerness Ecstasy Elation Enragement Euphoria Envy Exasperation Exhilaration Fatigue Glee Grouchiness Hassle Hesitation Hostility Humiliated Hysterical Indifferent Infatuated Insecure Irate Irked Isolated

Meaning

Irritation Annoyance Isolation or being kept apart Anger Nervousness Embarrassment Confusion Love/Caring Deep hatred Being put off Concern or distress Keenness to take part Real excitement or happiness Exceptional happiness Anger Extreme happiness Jealousy Exhaustion with frustration Being filled with excitement after having done something Exhaustion/Tiredness after having done something Being filled with happiness after having done something you’re proud of. Moodiness and irritation Annoyance at the hands of someone nagging you Caution Aggressiveness Made to feel foolish Crazy Not caring Passionate about Uncertain or anxious Furious Annoyed Kept apart or alone

Thoughts/feelings which could be conveyed Loathing Melancholy Mortification Neglect Optimism Outrage Being overwhelmed Pessimism Queasiness Rapture Regret Reluctance Remorse Resentfulness Repulsion Being riled Scorn Spite Torment

Meaning

Triumph Vengeance

Intense happiness at having won something Looking to harm someone to get them back

Viciousness Woe Weariness Wrath Zaniness Zest

Nastiness – possible with violence and aggression Sadness Tiredness or exhaustion Looking to carry out an act of revenge Craziness or wackiness Liveliness

Extreme hatred Being exceedingly sad, upset or depressed Embarrassment or shame Being ignored Hope or confidence about the future Anger Feeling like everything has become too much. Lacking hope or confidence about the future. Sickened Intense pleasure or joy A wish or desire that you hadn’t done something Not wanting or being unwilling to do something A feeling of guilt Annoyance at someone or something Being sickened by something or someone Irritation Looking down on something or someone Being filled with hatred Being continually irritated by

Subject: English Year: 9 Term: Autumn 1 Topic: Romantic poetry Topic:

Poems: 1. Ozymandias (Shelley) 2. London (Blake) 3. The Prelude (Wordsworth) 4. My Last Duchess (Browning) 5. Charge of the light Brigade (Tennyson) 6. Darkness (Byron) 7. Ode to Autumn (Keats) 8. The Rime of the Ancient Mariner (Coleridge) 9. The Tyger (Blake) 10. Daffodils (Wordsworth)

Key tasks: EA Exam 1: Compare how Browning and Blake explore the theme of power. (24 marks)  Unseen poetry comparison. (32 marks)

Key vocabulary

Definition

Sublime Romanticism

Terrifyingly beautiful and powerful Artistic and literary movement

Revolution Liberty Individualism Tyranny Patriarchal Corruption Key terminology

Forcible overthrow of government State of freedom Theory favouring individual liberty Cruel and oppressive rule System controlled by men Dishonest abuse of power Definition

Shakespearean Sonnet

Context Romanticism 18th – 19th centuries 1762 Jean-Jacques Rousseau The Social Contract French revolution 1789-1799 Industrial Revolution 1760 – 1840 Georgian period 1714 - 1837 Victorian Era 1837 – 1901 Themes Power and beauty of nature Oppression of the people

Key terminology

Definition

14 lines in iambic pentameter made of 3 quatrains of alternate rhyme with a rhyming couplet serving as a Volta to end A line of verse with five metrical feet, each consisting of one unstressed syllable followed by one stressed syllable Words which sound like the effect they describe “splash, slap, crack”

Half rhyme

Stressed syllables of ending consonants match but preceding vowel sounds do not Speaking directly to the audience, often using 2nd person narrative i.e ‘You need to listen!’

Imperatives

Command words

Organisation of words to create a noticeable sound or pace, with a clear ‘beat’. Often measured in syllables. A sentence or on-going piece of text carried over verses or stanzas to continue the spoken effect without pause. A punctuated break between words within a line of poetry

Tone

The feeling you give when writing or speaking.

Alternate rhyme

Alternate lines of poetry that rhyme. E.g. ABAB

Stanza

A verse similar to a paragraph, separated from other stanzas.

Hyperbole

Language used to deliberately exaggerate for emphasis

Refrain

Repeated line or phrase in a poem

Free verse

Poetry that does not rhyme or have a regular rhythm.

Cacophony

a harsh discordant mixture of sounds.

Rhyming couplet

A rhyming pair of successive lines of verse, typically of the same length. E.g. AABB

Dramatic monologue

Poem in the form of a speech of an imagined narrator

Iambic pentameter Onomatopoeia Rhythm

Enjambment

Caesura

, inarticulate

Direct Address

SIGNIFICANT CHARACTERS

Courtly Love: a medieval tradition of love between a knight and an unattainable noblewoman common in European literature of the time. The love of the knight for his lady was regarded as an overwhelming passion and the relationship was typically one sided.

Romeo Montague

Intense, intelligent, quick witted, and loved by his friends.

Juliet Capulet

Naïve and sheltered at the beginning, develops into a woman with strength. Grounded.

Mercutio

Romeo’s close friend. Wild, playful and sarcastic

Tybalt

Juliet’s cousin. A hothead consumed by issues of family honour. Hates the Montagues.

Benvolio

Romeo’s cousin, less quick witted than Romeo and Mercutio, tries to keep the peace.

Friar Lawrence

A Franciscan monk and a friend to both Romeo and Juliet.

Nurse

Juliet's best friend and confidante, and in many ways is more her mother than Lady Capulet is.

Prince Escalus

Leader of Verona, concerned with keeping order between the warring families.

Dueling and the concept of honour: Honour was hugely important at the time, and maintaining the honour of your family name was crucial. If you were challenged to a duel and you refused, you would be deemed a coward, thus damaging your honour and the status of your family. The role of women in a patriarchal society: Elizabethan England was a society controlled by men. Women were seen as the weaker sex and were expected to be ruled over by men. Women needed to be meek and mild, and most importantly, obedient to their fathers and later their husbands. Arranged marriages: Marriages amongst the wealthy were arranged by parents, and were not about love. Mostly the marriages were arranged for the purposes of status and power, and improving the social standings of families. The Catholic setting of the play: The play is set in Italy which is a Catholic country. Religion was extremely important, and marriage vows were sacred – once made, they could not be broken. The Globe Theatre: had different areas for those of all social backgrounds. The theatre was the main form of entertainment for all people. Plays were performed during the day (open air) and heckling was common.

PLOT Act 1

Act 2

Act 3

In Italy two noble families, the Montagues and Capulets, have much bad blood between them. Romeo, son of old Montague, is in love with Rosaline, who disdains his love. As a result, Romeo is depressed. To cure him of his love, his friend Benvolio induces him to attend a masked ball at the Capulets, where he could encounter other beauties and forget Rosaline. At the ball, Romeo is attracted by a girl who he learns is Juliet, daughter of the Capulets. They seal their love with a kiss. Romeo lingers in Capulet’s garden, standing in the orchard beneath Juliet’s balcony. He sees Juliet leaning over the railing, hears her calling out his name, and wishes that he were not a Montague. He reveals his presence, and they resolve, after an ardent love scene, to be married secretly. Tybalt encounters Romeo returning from Friar Lawrence’s cell. Romeo, softened by his newfound love and his marriage to Juliet, refuses to be drawn into a quarrel with Tybalt, now his kinsman by marriage. Mercutio grapples with Tybalt and is killed. Aroused to fury by the death of his friend, Romeo fights with Tybalt and kills him and takes shelter in the Friar’s cell.

KEY THEMES

Fate- No matter what the lovers do, what plans they make, or how much they love each other, their struggles against fate only help fulfill it. But defeating or escaping fate is not the point. No one escapes fate. It is Romeo and Juliet's determination to struggle against fate in order to be together, whether in life or death, that shows the fiery passion of their love, and which makes that love eternal. Individuals v society- Because of their forbidden love, Romeo and Juliet are forced into conflict with the social world around them: family, friends, political authority, and even religion.

In despair, Juliet seeks Friar Lawrence’s advice. He gives her a sleeping potion, which for a time will cause her to appear dead. Thus, on the day of her supposed marriage to Paris, she will be carried to the family vault. By the time she awakens, Romeo will be summoned to the vault and take her away to Mantua.

Language and word play- Romeo and Juliet constantly play with language. They pun, rhyme, and speak in double entendres. All these word games may seem like mere fun, and they are fun. The characters that pun and play with language have fun doing it. But word play in Romeo and Juliet has a deeper purpose: rebellion. Romeo and Juliet play with language to escape the world.

Act 5

The Friar’s letter fails to reach Romeo. When he hears of Juliet’s death Romeo procures a deadly poison from an apothecary and secretly returns to Verona to say his last farewell to his deceased wife and die by her side. At Juliet’s side, Romeo drinks the poison and dies. When Juliet awakens from her deep sleep, she realises Romeo’s error and kills herself with his dagger. The Capulets and Montague decide to reconcile as a result of the deaths of their children.

Violence and conflict – Conflict is one of the key driving forces in the play and it occurs between a range of characters – within families; within friendship groups; between warring households and between members of the communities. This conflict results in a huge amount of violence – violence opens the play in scene one and it also concludes the play with the deaths of the two lovers.

Romeo Montague Juliet Capulet Mercutio Benvolio Tybalt Friar Lawrence Prince Escalus Verona Patriarchy Duelling/duel Elizabethan Character

ASSESSMENT TASKS Scene Foreshadowing society Prologue Violence Metaphor Simile Iambic pentameter Foreshadowing Tragedy Monologue Sonnet

Writing assessment: Write an article for your local newspaper about youth violence and the impact that it can have on communities. (this can be based on the events of the play if you wish)

PROLOGUE: a separate introductory section of a literary, dramatic, or musical work. In Romeo and Juliet, the prologue summarises the events of the play, informing the audience that the protagonists (main characters) ‘take their life’ at the end. This then colours the audience’s view from the start, as they know that the play is a tragedy. FORESHADOWING: a warning or indication of a future event.

DRAMATIC IRONY: a literary technique, originally used in Greek tragedy, by which the full significance of a character's words or actions is clear to the audience or reader although unknown to the character. This is particularly apparent once the lovers are married as the majority of the characters have no idea that this has happened. BAWDY HUMOUR: Bawdy describes humour that is off-colour: about sex or other vulgar topics. MONOLOGUE: a long speech by one actor in a play, although there can be other characters present on stage. SOLILOQUY: an act of speaking one's thoughts aloud when by oneself or regardless of any hearers, especially by a character in a play.

Love- The love Romeo and Juliet share is beautiful and passionate. It is pure, exhilarating, and transformative, and they are willing to give everything to it. But it is also chaotic and destructive, bringing death to friends, family, and to themselves.

Act 4

KEY SPELLINGS

LITERARY/DRAMATIC TERMINOLOGY

OXYMORON: a combination of words that have opposite or very different meanings METAPHOR: a thing regarded as representative or symbolic of something else. SIMILE: a figure of speech that compares two things by using the words ‘like’ or ‘as’ something else. They are compared indirectly. IMAGERY: to use figurative language (similes, metaphors and personification) to represent objects, actions and ideas in such a way that it appeals to our physical senses. IAMBIC PENTAMETER: a line of verse with five metrical feet, each consisting of one short (or unstressed) syllable followed by one long (or stressed) syllable, for example Two households, both alike in dignity.

JUXTAPOSITION: the fact of two things being seen or placed close together with contrasting effect. TRAGEDY: a play dealing with tragic events and having an unhappy ending, especially one concerning the downfall of the main character. PROTAGONIST: the leading character or one of the major characters in a play, film, novel, etc

Reading Assessment: Read Act… Scene… and answer the following questions: A) How does Shakespeare use language to present love at first sight in this scene? B) How and why is love and marriage important in the play as a whole? You may refer to context here.

ANTAGONIST: a person who actively opposes or is hostile to someone or something; an adversary. BLANK VERSE: verse without rhyme, especially that which uses iambic pentameters. SONNET FORM: composed of three quatrains (4 line stanzas) and a final couplet in iambic pentameter with the rhyme pattern abab cdcd efef gg. Traditionally associated with romance and love poetry.

ROMEO AND JULIET- WILLIAM SHAKESPEARE

CONTEXT

Romeo and Juliet Knowledge Organiser Plot Summary:

Act 1 The houses of Capulet and Montague start a public fight. Both are warned by the Prince that if it happens again, the heads of the houses will be killed as a consequence. We meet Romeo, who is sad that his love, Rosaline, does not love him back. His friends convince him to attend a party at the house of Capulet. They are not supposed to go because the Capulet’s and Montague’s are enemies. Romeo sees Juliet for the first time and it is love at first sight for them both. Act 2 Romeo refuses to leave the party which annoys his friends. He waits in Juliet’s garden and she appears on the balcony. The two declare their love for one another and depart. Romeo goes to find Friar Laurence, who eventually agrees to marry Romeo and Juliet because he believes it will bring the families together. However, Romeo doesn’t realise that Tybalt, Juliet’s cousin, has seen him at the party and has challenged him to a duel. He and Juliet marry in secret. Act 3 When Romeo returns to his friends after the wedding, Tybalt arrives and demands to fight. Romeo refuses, and Mercutio is angry that Romeo won’t fight – not knowing that Romeo has just married Tybalt’s cousin. Mercutio fights on Romeo’s behalf and is killed by Tybalt. In a rage, Romeo then kills Tybalt and flees the scene. The Prince, Montague’s and Capulet’s arrive and all are told that Romeo must be exiled from the city of Verona otherwise he will be killed. During his final night in the city, Romeo sneaks to see Juliet. They spend the night together. The Friar makes arrangements for Romeo to leave the city and hide out until he can sort it out for him. Meanwhile, Juliet’s mother wants to cheers Juliet up and arranges for her to marry the most desirable man in Verona – Paris. Juliet refuses, and goes to Friar Laurence for help. Act 4 Friar Laurence then provides Juliet with a potion that will make it seem as though she is dead and tell Romeo, who will collect her and take her to exile with him. The next morning, everyone believes Juliet is dead. Act 5 Unfortunately, the message on the plan has not reached Romeo., His servant Balthasar greats him with the news that Juliet is really dead. Distraught, Romeo heads back to Verona in order to kill himself next to Juliet so they can be together one final time. On the way there, Romeo meets Paris and kills him. When he gets to Juliet, he drinks the poison to kill himself, just as she is waking up. Devastated, she takes Romeo’s knife and kills herself. The Friar tells both families what has happened, and both decide to end their hatred as enough damage has already been caused.

Key Characters:

Context:

Romeo – handsome, romantic sixteen year old. Son of Montague. Lord and Lady Montague – Romeo’s mother and father. Bitter enemies of Capulet. Mercutio – Romeo’s friend. A hot-headed and witty character. Benvolio – Romeo’s cousin. He tries to defuse any conflicts. Friar Lawrence – A Friar who is a friend to both Romeo and Juliet. He wants to bring peace to Verona. Juliet – A beautiful thirteen year old girl who grows up quickly during the play. Lord and Lady Capulet – Juliet’s father and mother. Enemies of the Montagues. Tybalt – Juliet’s cousin. He loathes the Montagues. The Nurse – Juliet’s nanny who Juliet confides in. Paris – suitor of Juliet

Patriarchy: In Elizabethan England, society was dominated by men. Men were considered strong and violence was considered masculine. Women: Women had no rights in Elizabethan England. They were regarded as property of their fathers until they were passed on to their husband’s and then became property of them. It was up to a woman’s father to decide who she would marry. They were not allowed to own possessions, property or even seen out in public if they were from a wealthy family. The Theatre: The theatre was the main form of entertainment in Elizabethan England. People of all social classes would attend. They enjoyed watching violent scenes that featured betrayal, jealousy, love and death. It was common for plays in this era to feature a prologue that tells the audience what is going to happen in the play before it really begins. This allows the audience to maintain their interest in the play and ensured people of all classes and levels of intelligence could enjoy the performance.

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Key Themes: Conflict Love Fate Gender Masculinity Revenge Death Love Family Rivalry

Romeo and Juliet Knowledge Organiser Key Quotes:

‘From ancient grudge break to new mutiny’ Prologue

‘Death marked love’ Prologue

‘What, drawn and talk of peace? I hate the word, as I hate hell, all Monatgues, and thee’ Tybalt

‘O brawling love! O loving hate!’ Romeo

‘A rose by any other word

would smell as sweet’ Juliet

‘Turn and draw, turn and draw!’ Tybalt

‘A plague on both your houses’ Mercutio

‘Fire-eyed fury be my conduct

now!’ Romeo

‘Either thou or I or both must go with him!’ Romeo ‘I am fortune’s fool!’ Romeo

‘Hang thee young baggage,

disobedient wretch!’ Capulet

‘Happy dagger’ Juliet ‘For there never was a story of

more woe than that of Juliet and her Romeo’ Prince

‘A pair of star-cross’d lovers take their life’ Prince

Methods: Noun – A word for a person, place or thing. Pronoun – A word used when referring to someone or something. Verb – A word used to describe an action, state or occurrence. Adjective – A word to describe a noun. Adverb – A word used to describe a verb. Simile – A phrase comparing one thing to another, using as or like. Metaphor – A phrase comparing one thing to another, without using as or like.) Personification – A phrase giving human characteristics to a non-human object. Imagery – Words or phrases that create visual images. Emotive language – Words that create feeling and emotion. Pun – a play on words Semantic field – A group of words that follow the same theme. Rhetorical question – A question that does not require an answer. Alliteration – Words close together that begin with the same sounding letter. Assonance – Words close together that begin with a vowel sound. Sibilance – Words close together that begin with an ‘s’ sound. Oxymoron – A phrase using contradictory words. Onomatopoeia – Words that create a sound. Symbolism – The representation of ideas in images or motifs. Punctuation – Marks used to separate or express meaning. Repetition – A word or phrase that is repeated. Dialogue – Words that are spoken by a character. Perspective – A point of view. Text can be written form a first (I), second (you) or third person (he/she/they) perspective. Sentence structures – The way that sentences are put together. Sentences can be simple (main clause), compound (main clauses joined with a conjunction, comma or semi colon) or complex (main and subordinate clauses). Foreshadowing – A hint or a warning of something in the future. Juxtaposition – Two concepts, themes, ideas or characters that are contrasting or opposite. Stage directions – an instruction indicating the movement, position, or tone of an actor, sound effects and lighting. Prologue – An introductory section of a play outlining the plot Soliloquy – Thoughts spoken aloud by a character alone on stage Aside - Thoughts spoken aloud by a character whilst others are on stage Dramatic irony – A technique where the audience knows more than a character.

Sentence Starters: Shakespeare presents…

Key Words:

Quote (embedded)

Conflict – a serious disagreement or argument Fate – development of events outside a person’s control Inevitable – certain to happen Tragedy – a play with a sad ending, usually the death of the main character Grudge – An ongoing argument Fatal – leads to death Unrequited – a feeling that is not returned Deception – the act of deceiving or tricking someone Fickle – changing frequently Control – the power to influence or direct people’s behaviour Patriarchy – a society dominated by men

This suggests to the audience… Shakespeare is revealing… (his ideas/context) In particular, Shakespeare’s use of (method) implies …

Stone Cold Knowledge Organiser Plot Summary:

Context:

The Plot has a dual narrative divided into the ‘chapters’

Throughout Swindells highlights to the reader the unfair and prejudiced/ill-informed attitudes people have (don’t match the reality) and also how vulnerable the homeless really are (they can go missing and no one cares, not even the police) – this creates sympathy for the homeless and makes us reconsider our own attitudes.

which Link narrates and the ‘Daily Routine Order’ which Shelter narrates. Link’s Story: * Link is homeless after running away from home in Bradford. His mom has a new boyfriend, Vince, who doesn’t want him around; he eventually leaves home and goes to London to find a new life. * He finds himself a bedsit to live in and looks for work. No one will employ him and he has no chance of getting any financial support. He is then thrown out by his ‘rat-face’ landlord onto the street. * Link makes friends with another homeless boy ‘Ginger’. They start hanging round together and Ginger teaches Link how to live on the street. Everything is fine until Ginger disappears. * Link then meets a homeless girl called Gail. She asks for his support and they start travelling around London together. * Link is tricked by Shelter into looking for Ginger. Shelter then catches Link and intends to kill him. * Gail, who was watching, calls the police. Gail is then revealed as a journalist who was using Link to research homelessness. Shelter’s Story: * Shelter reveals information about himself slowly. He was a soldier who was discharged under mental health grounds. He intends to clean up the streets of London by removing all of the homeless people. * He tricks homeless people into going to his house in 10 Mornington Place where he kills them, shaves their heads, dresses them in army clothes and places their bodies in his cold cellar in the formation of an army. * He kills Ginger’s friend ‘Body bag’, Ginger and intends to kill Link before he is caught by the police.

The setting of winter adds to sense of vulnerability/exposure/injustice. Winter = cold, harsh, associated with death. Swindells chooses this time of year to emphasise and intensify the difficulties faced by the homeless. Descriptions focus on weather and being unable to get away from it. Christmas is referenced to again create a contrast between a time of year associated with indulgence, excess and spending money with the lives of the homeless who have nothing. The setting of London intensifies the sense of the homeless being vulnerable and invisible/lost/insignificant. London is the capital city and largest city in Britain = vastness of city makes individual homeless people seem small and insignificant; easily lost/forgotten. The setting of Bradford is where Link is from and contrasts with harsh cruelty of London. Link is forced to move away and seek anonymity of London to avoid embarrassment of facing the judgemental attitudes of people he knows Captain Hook’s boats are also used by Swindells to show how vulnerable the homeless are to exploitation and how they are treated as lesser human beings – although the boats provide shelter, the conditions are cramped, filthy and unhygienic. Captain Hook charges the homeless and could potentially make a fortune every night.

Key Characters: Link - Protagonist. A seventeen year old who goes to start a new life in London and ends up living on the streets. Shelter - Antagonist. A former soldier who intends to clean up the streets by killing homeless people. Link’s Mother - Link’s mother is unnamed, her husband left her and now she is in an unhealthy relationship with Vince. Link’s father - Link’s father is unnamed, he left his family after having an affair with his receptionist. Vince - Link’s mother’s boyfriend. He controls her and doesn’t like Link living in the house. Carole - Link’s sister. She too left home due to Vince. She is unable to support him as much as she would like. Ginger - A homeless person who befriends Link and teaches him how to survive. He is caught and killed by Shelter. Gail - An undercover journalist (Louise) who pretends to be a homeless person in order to conduct research.

Stone Cold Knowledge Organiser Key Quotes:

Methods:

Sentence Starters:

”I never forget a face, and our next meeting will prove far more amusing for me than for

Swindells presents…

Key Words:

Quote (embedded)

Protagonist – the leading character, usually the hero Antagonist – an adversary or enemy in text Narrative - story Dual Narrative – A narrative which tells the story from two different perspectives Language Themes – Important subjects throughout the text Structure – the way a text is put together Stylistic devices Character – a person created in a text Setting – where the action takes place Voice – the individual style of speaking creating Genre – a type of text Conventions - typically Intent Context – the social or historical background or ideas of the text Viewpoint – a person’s opinion Morality – ideas about what is right or wrong Homeless – the state of having no permanent home Alienation – the state of feeling isolated from others Power – The ability to influence or control others

them.” (Shelter)

“We were a family you know – as happy as

most, till Dad ran off with a receptionist in 1991, when I was fourteen”. (Link) “You’re going to find yourself living among hard, violent people, some of whom are deranged. You’re going to be at risk every minute, day and night… There’s nowhere you can run to, because nobody cares.” (Link) § “You’re so cold, so frightened and it hurts so much that you end up praying for morning even though you’re dog-tired, even though tomorrow is certain to be every bit as grim as yesterday”. (Link) § “I was now one of them now – poised at the top of that downward spiral”. (Link) § “I’m invisible, see? One of the invisible people. Right now I’m sitting in a doorway watching the passers-by. They’re afraid I want something they’ve got, and they’re right.” (Link) § “but I can clean up the garbage, can’t I?… By golly I will”. (Shelter) § ”Recruiting can now commence” (Shelter) § “Killings easy. Dead easy” (Shelter) § “Gail was in tears by now, and so was I. It ended with her shoving a wad of banknotes in my hand.” (Gail) § “Yeah but like – justice was done, right? Was it, though? Shelter gets life, which means he gets a roof, a bed and three square meals a day. I don’t”. (Link)

Key Themes: Threat Homelessness Injustice Hopelessness Exploitation Vulnerability Prejudice

This suggests to the reader… Swindells is revealing… (his ideas/context) In particular, Swindells’ use of (method) implies …

Key terminology Transient Materialism Subject: English Year: 10 Term: Autumn 1 Topic: The Great Gatsby Topic: Lesson Sequence Week 1 - Context and themes - Comprehension Weeks 2 - 4 - Language Analysis - Evaluation Weeks 5 – 6 - Overall character and thematic evaluation

Hedonism Ambiguity Punctiliousness Sentimentality Ill-fated Patriarchal Adultery Elite Moralism Hypocrisy Dissatisfaction Criticism Idolatry

Definition Lasting only for a short time To consider objects, wealth and physical comfort more important than morals Pursuit of pleasure Being open to more than one interpretation Concerned about being precise and deliberate in abiding by rules Being governed by feeling rather than thought Being destined for misfortune Governed or ruled by men and women being seen as inferior An affair in which one or both parties are married The best in a class of people Practice of making judgements about someone else’s behaviour Claiming to have higher standards of behaviour than you actually do Being unhappy with a situation, person or state of affairs A point or judgement made after consideration of pros and cons Worshipping of something or someone

Language Paper 1, Section A & B (Gatsby extract)

EA Exam 1: Language Paper 1, Section A & B (unseen extract)

Context Author – F. Scott Fitzgerald - Published in 1925 - The Jazz Age/Roaring Twenties - Prohibition Era (19201933) - The Lost Generation - The Great War (1914-1919) - The American Dream

, inarticulate

Key Character Nick Carraway - Symbolises honesty and innocence

Key tasks: 

Key Themes Visions of America Mortality Gender Wealth and Social Class Nostalgia

Jay Gatsby - Symbolises the American Dream

Daisy Buchanan - Represents Gatsby’s ideals of the American Dream Jordan Baker - Symbolises self-interest and cynicism

Adjectives Judgmental Egocentric Perceptive Enigmatic Idealistic Delusional Capricious Careless Nostalgic Indecisive Incurably dishonest Insolent Cynical

Definitions Forms opinions based on circumstance Thinking very highly of oneself Showing insight, understanding or intuition Mysterious and puzzling Unrealistically aiming for perfection Having faulty judgment/being mistaken Changes behaviour suddenly Not exact, accurate, thorough or careful Holding a sentimental longing for the past Vague, unable to make a clear decision Disposed to lie and cheat unashamedly Boldly rude or disrespectful Bitterly distrustful and pessimistic

World War 1 Poetry Knowledge Organiser Poetic Forms: Blank verse

Verse with no rhyme – usually 10 syllables

Epic Free verse Lyrical Sonnet

Tragic/heroic story poems No regular rhyme/rhythm Emotional and beautiful 14 lines (often) love poems

Poetic Terms: Alliteration

Metaphor

Simile

5 Famous WW1 War Poets Wilfred Owen

Siegfried Sassoon Jessie Pope

John McCrae

Wilfrid Gibson

One of the most famous poets from World War 1. He criticised armchair war supporters. He died in the war. He was friends with Wilfred Owen. He was a great critic of the war and protested against it. She was a nationalist poet whose poems encouraged men to fight in the war. Wilfred Owen and Siegfried Sassoon were very critical of her poetry. A Canadian soldier who died during WW1. He is best known for his famous poem ‘In Flander’s Fields’. He focused on showing the hardships and truth of war in his poems. His poem ‘Back’ shows the trauma that soldiers faced when they came home.

Influential WW1 Poems

Oxymoron

Onomatopoeia

Assonance

Emotive

Personification

Enjambment Colloquial

‘Back’ by Wilfrid Gibson

Plosives

‘In Flander’s Fields’ by John McCrae

Juxtaposition

‘Dulce et Decorum est’ by Wilfred Owen ‘Anthem for Doomed Youth’ by Wilfred Owen

Sibilance

When words placed together start with the same sound. “She sells sea shells on the sea shore” When you say something is something else but you know it can’t be. “She is a star!” When you compare two things using ‘as’ or ‘like’. “As brave as a lion” When two words are placed together with opposite meanings. “Cruel kindness” or “silent scream” Words that sound like what they are. “Meow” or “crash” The repetition of a vowel sound “Go slow over the road” Language used to create a particular emotion in the reader When you give inanimate object human qualities. “The alarm clock screamed” When a sentence continues on the next line Using ordinary – often informal – language Hard sounds such as ‘b’, ‘d’ or ‘p’ Two contrasting things placed together to help the reader see the differences A repeated ‘s’, ‘sh’ or ‘z’ sound.

‘My Boy Jack’ by Rudyard Kipling ‘The Soldier’ by Rupert Brook ‘Suicide in the Trenches’ by Siegfried Sassoon ‘Who’s for the Game?’ by Jessie Pope ‘For the Fallen’ by Laurence Binyon ‘Break of Day in the Trenches’ by Isaac Rosenberg

Key Vocabulary Armchair war supporter Dulce et decorum est pro patria mori No man’s land

Someone who talks about the glory of war without having been themselves. Latin for ‘it is sweet and fitting to die for one’s country’. The empty/unoccupied land between two sides of trenches.

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Descriptive and Narrative Writing Based on Autobiography Term Simile Onomatopoeia Metaphor Alliteration

Personification Use of the five senses

Visual imagery

Aural imagery

Pathetic Fallacy Exposition

First Person Third Person

Definition A comparison using like or as Words which sound like their meaning A comparison without using like or as When a writer begins a group of words that are close together with the same letter to draw attention to those words. When a writer gives an inanimate object human characteristics. When the writer uses the five senses: sight, sound, touch, taste, smell to give depth to their description. When the words used by the writer encourage the reader to create a mental picture of the scene. When the words used by the writer help the reader to understand what something sounded like. When the writer uses nature to convey a mood. The part of a story that sets the stage for the drama to follow: it introduces the theme, setting, characters, and plot at the story’s beginnings Writing from a personal perspective. (I, we) Writing from the perspective of another person. (he, she, it, they)

Jessica Ennis Hill: Key Words

1. Menacingly: threateningly 2. Lurk: be or remain hidden so as to wait in ambush for someone or something 3. Cavernous: big 4. Snarl: an aggressive growl Roald Dahl: Key Words Vermillion: bright red Brilliantine: scented oil used on men’s hair to make it look glossy Flourished: grew/developed Prolonged: continuing for a long time

1. 2. 3. 4. 5. 6.

Corrugated: shaped into a series of parallel ridges and grooves Perpetually: constantly Wretched: poor/miserable Inquiring: seeking facts/curious Intently: with close attention Exalted: a high or powerful level Roved: travelled constantly Dais: a platform Lacerated: deep cuts Excruciating: extremely painful Malala: Key Words Prose: ordinary writing – not poetry Oratory: the art of public speaking Resentment: feeling or wishing ill will because of something unfair or wrong Inebriated: being drunk Eloquently: fluent, persuasive style of speech Profoundly: deeply Lamented: regretted Symmetrical: the same on both sides To get a high mark in any writing piece you will need to: 1. 2. 3. 4. 5. 6.

Include a variety of sentence types. Vary the way you start sentences. Spell accurately. Punctuate accurately and use a range of punctuation. . , : ; ! ? “ “ ( ) Link your ideas within paragraphs Ensure there is cohesion (paragraphs flow on from one another/link) between your paragraphs . 7. Use sophisticated vocabulary. You can use these acronyms to help structure your descriptive and narrative writing: L – long shot L – long shot Z – zoom Z – zoom into the character’s thoughts Z – zoom Z – zoom to dialogue Z – zoom Z – zoom to flash back/forward Z – zoom Z – zoom back L – long shot L – long shot

Year 7 Knowledge Map – Ballad Poetry Assessment 1 Writing: Write a description of an outside space, using natural imagery and figurative language. Reading: How has the writer used poetic and structural techniques to present ideas in any of the poems you have studied?

The unit will cover a range of different ballad poems, each in the same form but exploring a different plot. Students will understand the conventions of the form by the end of the unit:  Tells a story, usually tragic  Quatrains (4 line stanzas), which provide short scenes of a story  Rhyme scheme of abcb  Regular, strong rhythm  Longer first and third line (6,5,6,5 or 7,6,7,6 syllables)  May use dialogue (speech) and questions  May end with a moral or address the reader

The Sad Story of Lofty and Ned by Richard Allan Crust: an 11 stanza, narrative poem telling the story of two robbers and a failed attempt to rob a bank using explosives.

The Highwayman by Alfred Noyes: an 18 stanza, narrative poem, telling the story of a highwayman and his lover, the landlord’s daughter. Soldiers (who want to arrest the Highwayman) capture his lover and use her as bait to capture him, but she commits suicide as a way to warn him that the soldiers are waiting for him. The highwayman is eventually killed by the soldiers, and the lovers are reunited in death.

Alliteration The repetition of sounds within close proximity Connotation The meaning suggested by a word/the bigger picture Denotation The most literal and limited meaning of a word Imagery Language which describes something using sensory stimulation Juxtaposition The arrangement of two things in similar moments for the purpose of comparison Simile A comparison of one thing with another using "like" or "as" Metaphor A comparison of two things, often unrelated (without "like" or "as") Oxymoron Two contradictory terms used in a single phrase Personification A figure of speech which endows non-human things with human form or character Stanza A major subdivision in a poem, similar to a verse in a song Rhyme In poetry, a pattern of repeated sounds Tone The author's attitude or mood towards his subject and audience Theme Main idea or message conveyed by the piece Mood The atmosphere created by a piece. The feeling the reader is supposed to get from the text. Symbolism A literary device that contains several layers of meaning, often concealed at first sight

The Lady Of Shalott by Alfred Lord Tennyson: a 19 stanza narrative poem, telling the tragic story of the Lady of Shalott, who was cursed to live in a tower for her entire life and had to view the world through a magical mirror. She attempts to leave the tower and dies because of the curse, and after death she sails down to Camelot in a small boat. The poem is based on a character from the Legend of King Arthur.

Ballad conventions:  Tells a story, usually tragic  Quatrains (4 line stanzas), which provide short scenes of a story  Rhyme scheme of abcb  Regular, strong rhythm  Longer first and third line (6,5,6,5 or 7,6,7,6 syllables)  May use dialogue (speech) and questions  May end with a moral or address the reader The Ballad of Charlotte Dymond by Charles Caulsley: a 23 stanza narrative poem, telling the true story of Charlotte Dymond, a domestic servant aged eighteen, was murdered on Bodmin Moor in 1844 by her young man: a crippled farmhand, Matthew Weeks, aged twenty-two.

Symbolism A literary device that contains several layers of meaning, often concealed at first sight Repetition Repeating of a word or phrase in order to improve emphasis Caesura A complete pause in a line of poetry Onomatopoeia A word that imitates the sound it represents. Enjambment A line of poetry that ends with no punctuation and consequently runs over into the next line Setting The context in time and place in which the action of a story occurs. Conflict A struggle between opposing forces Climax Most exciting moment of the story; turning point Free-Verse A poem that does not have a set pattern or rhyme scheme Figurative Language An umbrella term for simile, metaphor and personification Personification Is a literary device in which the author speaks of or describes an animal, object, or idea as if it were a person. Quatrain a stanza of four lines, especially one having alternate rhymes Couplet two lines of verse, usually in the same meter and joined by rhyme, that form a unit Meter the rhythm of a piece of poetry, determined by the number and length of feet in a line

Romeo and Juliet Knowledge Organiser Plot Summary:

Key Characters:

Context:

most preferred by

Key Themes: Conflict Love Fate Gender Masculinity Revenge Death Love Family Rivalry

Romeo and Juliet Knowledge Organiser Key Quotes:

‘From ancient grudge break to new mutiny’ Prologue

‘Death marked love’ Prologue

‘What, drawn and talk of peace? I hate the word, as I hate hell, all Monatgues, and thee’ Tybalt

‘O brawling love! O loving hate!’ Romeo

‘A rose by any other word

would smell as sweet’ Juliet

‘Turn and draw, turn and draw!’ Tybalt

‘A plague on both your houses’ Mercutio

‘Fire-eyed fury be my conduct

now!’ Romeo

‘Either thou or I or both must go with him!’ Romeo ‘I am fortune’s fool!’ Romeo

‘Hang thee young baggage,

disobedient wretch!’ Capulet

‘Happy dagger’ Juliet ‘For there never was a story of

more woe than that of Juliet and her Romeo’ Prince

‘A pair of star-cross’d lovers take their life’ Prince

Sentence Starters: Shakespeare presents…

Key Words:

Quote (embedded)

This suggests to the audience… Shakespeare is revealing… (his ideas/context) In particular, Shakespeare’s use of (method) implies …

Stone Cold Knowledge Organiser Plot Summary:

Context:

The Plot has a dual narrative divided into the ‘chapters’

Stone Cold Knowledge Organiser Key Quotes:

Methods:

Sentence Starters:

”I never forget a face, and our next meeting will prove far more amusing for me than for

Swindells presents…

Key Words:

Quote (embedded)

them.” (Shelter)

“We were a family you know – as happy as

Key Themes: Threat Homelessness Injustice Hopelessness Exploitation Vulnerability Prejudice

This suggests to the reader… Swindells is revealing… (his ideas/context) In particular, Swindells’ use of (method) implies …

Knowledge map: Poems from Other Cultures and Traditions Introduction: The unit will cover a range of poems from other cultures and traditions, written in a range of styles and forms. By the end of the unit the students will be more confident applying key terms and comparing poems, as well as having a better understanding of a number of different cultures and traditions. Important poetic/structural devices and terminology: Alliteration The repetition of sounds within close proximity Connotation The meaning suggested by a word/the bigger picture Denotation The most literal and limited meaning of a word Hyperbole A figure of speech in which an overstatement or exaggeration occurs for effect Imagery Language which describes something using sensory stimulation Juxtaposition The arrangement of two things in similar moments for the purpose of comparison Simile A comparison of one thing with another using "like" or "as" Metaphor A comparison of two things, often unrelated (without "like" or "as") Oxymoron Two contradictory terms used in a single phrase Personification A figure of speech which endows non-human things with human form or character Irony The general name given to literary techniques involving surprising, interesting contradictions Stanza A major subdivision in a poem, similar to a verse in a song Rhyme In poetry, a pattern of repeated sounds Tone The author's attitude or mood towards his subject and audience Theme Main idea or message conveyed by the piece Symbolism A literary device that contains several layers of meaning, often concealed at first sight Repetition Repeating of a word or phrase in order to improve emphasis Syntax Refers to the way in which words and sentences are placed together in writing Caesura A complete pause in a line of poetry Onomatopoeia A word that imitates the sound it represents. Enjambment A line of poetry that ends with no punctuation and consequently runs over into the next line Speaker Narrator/Major character in poem Point of View Perspective from which a story is told. Setting The context in time and place in which the action of a story occurs. Conflict A struggle between opposing forces Free-Verse A poem that does not have a set pattern or rhyme scheme Extended Metaphor The entire poem features the same metaphor running through it. Auto-biography A poet's account of his or her life Figurative Language An umbrella term for simile, metaphor and personification Phonetic spelling Words that are written the way that they would sound when read aloud. Dialect A particular form of a language which is peculiar to a specific region or social group

Knowledge Organiser: Great Expectations (by Charles Dickens) Plot Synopsis: Narrated by an abused orphan named Pip, the story follows his journey between from poor orphan (1812) to power and wealth (1840), the friends he gains and loses and his eventual humbling. As the novel opens, Pip lives with his sister and her husband in Kent, England. After an episode involving escaped convicts, Pip is sent on daily visits to the estate of the wealthy Miss Havisham to entertain her adopted daughter Estella. Although Pip is apprenticed to the blacksmith, Joe, his sister's husband, having seen Miss Havisham's wealthy world, he does not wish to become a blacksmith. Unexpectedly, Pip comes into a mysterious sum of money and eventually goes to London to learn to be a gentleman. While there, he learns to his dismay of the origins of his mysterious money. Pip feels responsible for his benefactor and tries to get the man out of England but as he does so he discovers his love, Estella, is to be married and attempts to change her mind. Tragedy falls before the pair can reconcile and reflect on who they have become.

Key Characters

Key themes

Literary and Social Context

Vocabulary

Pip Pirrip An orphan who serves as blacksmith’s apprentice. When he unexpectedly comes into a fortune, Pip confuses integrity with reputation and grows haughty and extravagant in pursuit of a lifestyle genteel enough to meet the refined standards of Estella. Miss Havisham The wealthy daughter of a brewer, Miss Havisham was abandoned on her wedding day by her fiancée and traumatised. She shuts out the world for over 20 years, preserving herself and her house in wedding regalia. Estella Miss Havisham’s adopted daughter. She is proud, refined, beautiful, and cold; and raised to “wreak revenge on the male sex”. Miss Havisham has raised her to lack a true human heart and she is unable to love. Abel Magwitch (Provis) An escaped convict Pip helps in the novel's opening scenes. Born an orphan on the streets and cruelly swindled, he’s lived a life in and out of prison. His criminal record is largely the result of unfortunate circumstances; he’s kind, good-hearted, and immensely generous.

Ambition & Self Improvement Social Class Crime & Guilt Innocence & Justice Familial Connections Revenge Redemption Avarice Setting

Bildungsroman

Exile of Convicts

Ambitions and New Opportunities

1718-83 1775-83 1783-87 1787

England’s Industrial Revolution made it the first capitalist economy, opening social and financial opportunities to people who had never had the chance to gain status or wealth under the rigid hereditary class hierarchy of the past. These opportunities enabled people born into lower classes to raise their standing in society by making money and acquiring education. The new opportunities in turn inspired ambitions that had not been possible in preIndustrial Revolution England, where one's life path was determined strictly by birth. Great Expectations explores both the dream and the realisation of such ambitions, both what is gained and what is lost, and showcases lives from all classes of nineteenth-century British society.

Faded Opulence Dilapidated Hereditary Privilege Superior Ostracised Genteel Reticent Prosperous Corrupt Woebegone Incongruous Paradoxical Pathetic Fallacy Impudent Venerate Disparity Remuneration Episodic Ostentatious Propitiation Benefactor Prolix Revenant Malignant Portentous Clemency

1790 1791 1868

50,000 criminals exiled to American colonies Was of Independence brings exile to a halt Prisons and coastal hulks overflowing with criminals st 1 fleet (11 ships) transport exiles to Australia (taking 252 days: roughly 8 months) nd 2 fleet arrives rd 3 fleet arrives Transportation officially ends

The choice of sentences available to judges for convicted criminals was very limited. A large number of offences were punishable by execution, usually by hanging, but many were pardoned as it was considered unreasonable to execute relatively minor offenders. Equally it was unreasonable for them to escape punishment entirely. Transportation was introduced as an alternative, although legally it was considered a condition of a pardon, rather than a sentence (a public exhibition of the king’s mercy). Convicts representing a menace to the community were sent away to distant lands. While it became a deterrent in itself, it was a solution to the very real problem in an overburdened penal system. There was also the possibility that transported convicts could be rehabilitated and reformed by starting a new life in the colonies.

The term denotes a novel of all-around self-development. 1. Most generally, it’s the story of a single individual's growth and development within the context of a defined social order. The growth process is often a quest and has been described as both "an apprenticeship to life" and a "search for meaningful existence within society." 2. To spur the hero or heroine on to their journey, some form of loss or discontent must jar them at an early stage away from their home or family. 3. The process of maturity is long, arduous, and gradual, consisting of repeated clashes between the protagonist's needs and desires and the views and judgments enforced by an unbending social order. 4. Eventually, the spirit and values of the social order become manifest in the protagonist, who is then accommodated into society. The novel ends with an assessment by the protagonist of himself and his new standing.

Debutantes A debutante (from the French débutante, "female beginner") is a girl or young woman of an aristocratic or upper-class family who has reached maturity and, as a new adult, comes out into society at a formal "debut". Originally, the term meant the woman was old enough to be married, and part of the purpose of her “coming out” was to display her to eligible bachelors and their families with a view to marriage within a select circle.

Knowledge Organiser: Of Mice and Men by John Steinbeck Plot Synopsis: Two itinerant workers, who travel together, arrive at a ranch to work after escaping some trouble in their previous job. One of the men, Lennie, is mentally handicapped; he is looked after by his friend, George. Unfortunately, tensions soon begin to rise and Lennie accidentally kills someone. This leaves George to make one of the most difficult decisions of his life. Key Characters Key themes Historical and Social Context Vocabulary George: small, cynical. Looks after Lennie, dreams of a better life. Lennie: Big, strong, child-like (mentally handicapped). Travels with George; dreams of rabbits. Candy: Old handyman on the ranch. Only has one hand. Has an old dog. Curley: Son of the boss. Small, mean, aggressive. Dislikes Lennie. Curley’s wife: Young, pretty and lonely. Flirts – only woman on the ranch. Slim: Leader of men – well respected, mysterious. Crooks: Only black person on the ranch. Discriminated against. Carlson: Big, insensitive ranch-hand.

Loneliness Dreams (The American Dream) Discrimination and prejudice because of:  Race  Gender  Disability  Age Destiny Death

Setting

Key Quotations/techniques

1930s America The Great Depression The Salinas Valley in California Soledad (the closest town) – means solitude in Spanish. Weed (the town where George and Lennie had come from) – a weed is unwanted. A pool close to the ranch The ranch:  The bunkhouse  The barn  Crooks’ room

Animal imagery (Lennie) – Walks like a “bear”; drinks like a “horse”; holds the mouse like a “terrier” Symbolism (Curley’s wife links to the colour reddanger/sex) – “rouged lips”; “red fingernails”; “red mules” with “red ostrich feathers”. Light and dark – hope and despair: “It’ll be dark before long”; “The light climbed out of the valley.” Negative labels (Curley’s wife) “tart”; “jailbait”. (Crooks) – “nigger” (Lennie) “crazy bastard” Foreshadowing Lennie kills a mouse, a puppy making the reader wonder what he will kill next. George: “I should of knew… I guess maybe way back in my head I did.” Childish Language (Lennie) “I done a bad thing”

     

The banks crashed in 1929 leading to The Great Depression There was a long drought in the 1930s leading to ‘The Dust Bowl’ Many farm workers were forced to travel around to find temporary jobs American society was racist in the 1930s – there was segregation in many states Women were seen as less important than men in 1930s America The American Dream (you could be your own boss and make your own fortune) fell apart during the depression

About the Author

Born 1902 in Salinas, California. Worked as a ranch hand while studying at university. 1937 published Of Mice and Men. 1962 awarded Nobel Prize for Literature. Died in 1968.

Novel Author John Steinbeck Colloquial Dialect Realistic Jerkline skinner (in control of a team of mules) Bucking grain (filling and loading sacks) Swamper (cleaner/handyman) Stable buck (in charge of horses/mules) Euchre (a card game) Cat-house (brothel) Blown your stake (spent all of your money) Canned (sacked/fired)

Speeches, articles and letters KO Technique/Term Onomatopoeia Metaphor Alliteration

Anecdote

Anaphora Fact Opinion (synonyms: viewpoint/perspective) Rhetorical question. Repetition. Emotive language Exaggeration Expert testimony Statistics Superlative Tripling (rule of three) Imperative verbs. Direct mode of address Rhetoric Discourse

Definition Words which sound like their meaning. A comparison without like or as. When a writer begins a group of words that are close together with the same letter to draw attention to those words. A short amusing or interesting story about a real incident or person. In persuasive writing an anecdote is usually used to try and suggest that it is the experience of many. The repetition of a word or phrase at the beginning of successive clauses. Something that can be proven to be true. What someone thinks and feels about something. A question that doesn’t require an answer. When a word or collection of words appears more than once to emphasise a point. Words that make the reader feel a strong emotional response. A statement that represents something as much better or worse than it really is. A statement from someone who has exceptional knowledge in a particular field. Numerical facts. Expressing the highest degree of a quality When a writer uses three words, phrases or fragments to help express their idea more strongly. Commands. When a text is written in a way which directly involves the reader – usually using the pronoun ‘you’. The art of using language in order to persuade or motivate particular audiences in specific situations. Any written or verbal communication.

Discourse marker

Speeches should include:

a word or phrase whose function is to organize discourse into segments.    

Articles should include:

Letters should include:

         

A clear address to an audience. Effective/fluently linked sections to indicate sequence. Rhetorical indicators that an audience is being addressed throughout A clear sign off. A clear/apt/original title A strapline Subheadings An introductory (overview) paragraph Effectively/fluently sequenced paragraphs. The use of address(es) A date A formal mode of address – either Dear Sir/Madam or a named recipient. Effectively/fluently linked sequence paragraphs An appropriate sign off.

To get a high mark in any writing piece you will need to: 1. 2. 3. 4. 5. 6.

Include a variety of sentence types. Vary the way you start sentences. Spell accurately. Punctuate accurately and use a range of punctuation. . , : ; ! ? “ “ ( ) Link your ideas within paragraphs Ensure there is cohesion (paragraphs flow on from one another/link) between your paragraphs . 7. Use sophisticated vocabulary. You can use these acronyms to help remember what to include: R – respond S – statistics A – anecdote E – expert

A F O R E

Year 9 Knowledge Map – ‘Place’ Poetry Assessment 1 Writing: Use the last three lines from the poem ‘A Moment’ as the stimulus for a creative piece of writing.

We shall be focussing on a ‘cluster’ of poems that explore feelings, moods and thoughts connected to a particular place at a particular time. The impact that our environment can have on our imagination prompts the poets to explore the nature of our relationship with the world.

Assessment 2 Reading: Compare how poets present ideas about place it two of the poems you have studied.

Simon Armitage ‘A Vision’ – The poet describes finding architectural plans on a rubbish tip. It plays with the sense of time, referring to the future as if it only existed in the past. It offers childish memories of exciting models of the future, where dreams seem to be achievable. The poem ends with a sense of disappointment that the promise of this future has not been kept.

Norman MacCaig ‘Below the Green Corrie’ – The poet describes the experience of coming down a Scottish mountain range in bad weather. The mountains appear to be heroic, threatening and wild. The poet shows how his experience of the landscape enriches his life, through the extended metaphor of a highwayman with a twist, as the bandit gives instead of taking.

Gillian Clarke ‘Cold Knap Lake’ – The poem recounts a childhood memory of an event at Cold Knap Lake (in South Wales). The poet presents her mother as a heroine, rescuing a child from drowning. It ends with the poet doubting her memory of the event. Memory is symbolised through an extended metaphor relating to water.

Seamus Heaney ‘The Blackbird of Glanmore’ The poet recalls the death of his younger brother. The love for him is symbolised in the returning blackbird. This blackbird is the embodiment of his connection with his dead sibling. The poem captures a frozen moment in time through the use of caesura and enjambment which create a flash back to past memories.

William Butler Yeats ‘The Wild Swans at Coole’ – The poet uses swans to reflect on love and loss. It ends with a self-pitying tone, recognising that beauty cannot last. The swans mate for life, but the poet is yet to find lasting love and like the season he is in the autumn of his life.

William Blake ‘London’ – This is written as an eye witness account of someone walking through London. It explores the misfortune and misery of the city’s inhabitants. A clear link is made between how people think and how they behave. Blake emphasises the hypocrisy of Church and State and the ‘mind forged manacles’ imposed on ordinary people.

Grace Nichols ‘Price We Pay of Sun’ – The poet contrasts the reality of her childhood home and its tourist-industry image. It ends with an invitation to return to an acceptance of her difficult past.

Margaret Atwood ‘The Moment’- The poem begins with an ironical sense of achievement and success. It suggests satisfaction is shortlived and short-sighted. The poem ends with the voices of natural world teaching humanity a lesson.

Allegory A description that has a second meaning behind the surface one. Alliteration The repetition of sounds within close proximity Allusion An indirect reference to something Assonance The repetition of vowel sounds in a literary work, especially in a poem Connotation The meaning suggested by a word/the bigger picture Hyperbole Exaggeration Imagery Language which describes something using sensory stimulation Juxtaposition The arrangement of two things for the purpose of comparison Simile A comparison of one thing with another using "like" or "as" Metaphor A comparison of two things, often unrelated (without "like" or "as") Oxymoron Two contradictory terms used in a single phrase Personification To endows non-human things with human form or character Stanza A major subdivision in a poem, similar to a verse in a song Tone The author's attitude or mood towards his subject and audience Theme Main idea or message conveyed by the piece Symbolism A literary device that contains several layers of meaning

The language is economical, yet vivid and symbolic.

Caesura A complete pause in a line of poetry Onomatopoeia A word that imitates the sound it represents. Enjambment A line of poetry that ends with no punctuation and consequently runs over into the next line Consonance Repetition of a consonant sound within two or more words in close proximity. Speaker Narrator/Major character in poem Free-Verse A poem that does not have a set pattern or rhyme scheme Ballad A rhyming poem that tells a story and is usually written in quatrains Antithesis Is an opposition or contrast, of ideas. Sibilance The repetition of the letter 's', creating a hissing sound. Quatrain A stanza of four lines, especially one having alternate rhymes Couplet Two lines of verse, Meter The rhythm of a piece of poetry Syntax Refers to the way in which words and sentences are placed together in a sentence.

Year 7 English Language Writing Skills: Knowledge Organiser Narrative & descriptive writing Ø Narrative writing

You need to develop a plot

Ø Descriptive writing

Zoom in on specific ideas and go into lots of descriptive detail. Show not tell the reader what is there.

Boring word

Dry Beautiful Quiet Strong Rundown Dark Light

WOW words

Sentence variety for effect:

Desiccated, arid, dehydrated Striking, salient, attractive Inaudible, tranquil, serene Robust, resilient, sturdy Dilapidated, neglected, derelict Obscure, murky, shadowy Illuminated, incandescent, radiant

Descriptive techniques for effect:

Vocabulary for effect:

Use the senses to allow the reader to picture exactly what is happening.

Technique Simile - a descriptive technique that compares one thing with another, usually using 'as' or 'like'. Metaphor - a descriptive technique that names a person, thing or action as something else. Personification - a metaphor attributing human feelings to an object. Onomatopoeia - words that sound a little like they mean. Emotive language - language intended to create an emotional response.

Example A face as pale as wax

The circus was a magnet for the children

Punctuation for effect:

Checklist:

1. Accurate use of a range of punctuation (;:-‘,?!...)

2. Range of sentence lengths (occasional short sentence for dramatic effect)

The sun smiled at the hills, ready to begin a new day.

3. WOW words (impressive vocab)

The autumn leaves and twigs cracked and crunched underfoot. A heart-breaking aroma of death filled the air as he surveyed the devastation.

4. Use of a range of descriptive techniques (similes, metaphors, personification, imagery etc.) 5. Paragraphs of various lengths

Year 7 English Language Writing Skills: Knowledge Organiser Persuasive writing

Vocabulary for effect:

You will be given a strongly worded statement to ‘explain your point of view’ on. Pick a side but consider the counter

Boring word Good

arguments. Plan for success:

•

• •

Purpose & audience. What type of text are you writing? Who are you writing it for? Discourse makers (with commas after them) Interesting ideas, anecdotes (personal experience of the issue –if in doubt make it up), counter arguments WOW words An opening Rhetorical question to engage the reader

An example: ‘Teenagers watch too much TV’. Should teenagers be allowed to have their own television in their room? This is a question that at some point most

parents will be faced with. Besides, in the face of the usual teenage onslaught of, “It’s not fair!” and “You don’t understand!”, it would be very easy to give in. The question is whether this is the responsible thing to do or not. Of course, we all want to have happy and fulfilled children in our families. Nevertheless, the answer to this question must surely be a resounding ‘No!’. Television can be an unscrupulous entity and it is important that you don’t lose sight of this in the face of the ‘electronic culture’ that is gradually taking over children’s lives. With teenagers being encouraged - even at school - to use new technology all of the time, they might see it as “ridiculous” that they can’t have free access to what seems an ‘old technology’ of television. However, consider your own parents or grandparents. Did they have a television in their rooms? Of course they didn’t. Yet they still managed to grow up as vigorous and content individuals. Try telling that to your son or daughter.

Sentence variety for effect:

WOW words

Outstanding, exceptional, remarkable Bad Abhorrent, abysmal, appalling Boring Tedious, lacklustre, monotonous Angry Irritated, exasperated, vexed Pointless Futile, inane, absurd

Persuasive techniques for effect:

Punctuation for effect:

Checklist: 1. Accurate use of a range of punctuation (;:-‘,?!...)

2. Range of sentence lengths (occasional short sentence for dramatic effect) 3. WOW words (impressive vocab) 4. Use of a range of persuasive techniques (DAFOREST) 5. Paragraphs of various lengths

6. Anecdotes, humour/sarcasm & counter-arguments

Nineteen Eighty-Four

Key Characters Winston Smith – Taking his first name from Britain’s most famous Prime Minister and his last from the common English man, Winston is both an everyman, and a hero. Except he isn’t. He’s a 39-year-old clerk whose job is to rewrite the past. Julia – Winston’s rebellious girlfriend works on the ‘fiction machines’ in the Ministry of Truth. Intellectual Winston is dismissive of her more physical version of rebellion. O’Brien – An important member of the ‘Inner Party’, O’Brien presents himself as a fellow dissident and a member of ‘the Brotherhood’. Syme – a philologist (expert in language), Syme and Winston are friends despite their political disagreements. Ampleforth – Winston’s absent minded colleague is a poet responsible for translating the literary canon into something the Party is happy with. Parsons – ostensibly, Parsons is the perfect Party member. Big Brother – the symbolic leader of the Party. Goldstein – an almost mythical rebel who helped, with Big Brother, to form the Party but then left it to lead the rebellious ‘Brotherhood’. Author of the rebel’s manual The Theory and Practice of Oligarchical Collectivism. Mr. Charrington – befriended by Winston, Mr. Charrington is an old man who runs a junk shop.

Technical and Conceptual Terminology

“It was a bright cold day in April, and the clocks were striking thirteen” (1). “Nothing was your own except the few cubic centimetres inside your skull” (21). “Even the names of countries, and their shapes on the map, had been different. Airstrip One, for instance, had not been so called in those days: it had been called England or Britain” (25)

Story – the events of a novel. Narrative – the version of events we are given by the Narrator – the person who tells us a story. Perspective - the point of view from which events in a novel are narrated. Idiolect – the personal language used by an individual. Free indirect style – the narrative mode whereby a narrator adopts the idiolect of a particular character in narrating what is happening to give that individual’s perspective on events.

“Don’t you see that the whole aim of Newspeak is to narrow the range of thought?” (40). “‘If there is hope,’ wrote Winston, ‘it lies in the proles’” (53). “Freedom is the freedom to say that two plus two make four. If that is granted, all else follows” (62). “I’m thirty-nine years old. I’ve got a wife that I can’t get rid of. I’ve got varicose veins. I’ve got five false teeth” (92). “I wanted to rape you and then murder you afterwards” (93). “‘We are the dead’, he said. ‘We’re not dead yet’, said Julia prosaically” (104). “The best books, he perceived, are those that tell you what you know already” (154).

Utopia / Dystopia – a perfect but unattainable society / its opposite: a nightmarish, but possible society. Nationalism – “The habit of identifying oneself with a single nation or other unit, placing it beyond good and evil and recognising no other duty than that of advancing its interests” – Orwell. The nation – “A socially constructed community, imagined by the people who perceive themselves as part of that group” – B. Anderson.

Critical Views

“Nineteen Eighty-Four envisages the end of England (‘Airstrip One’) by the wiping out of its identity, the ‘”Who controls the past controls the future: who controls the brutalisation of its people, and the manipulation of its present controls the past” (191). language, truth and logic” – Robert Colls, English “If you want a picture of the future, imagine a boot stamping Rebel. on a human face – for ever” (206). “The moral to be drawn from this dangerous nightmare situation is a simple one: Don’t let it happen. It depends on you” – Orwell, ‘Statement’. The Party – the name of the ruling elite, comprises – between the Inner and Outer Party – 15% of population. The Proles – the ‘common people’ who are ruled over by the Party and apparently ignorant of its control over their lives. Ingsoc – short for ‘English Socialism’, this is the name of the ideology followed by The Party. Newspeak – the official language of Oceania and had been devised to meet the ideological needs of Ingsoc. Doublethink – the power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them. Room 101 – the nightmare place within The Ministry of Love where prisoners meet their darkest fears.

Key Vocabulary

Voted the most influential novel of the 20th century, Orwell’s dystopia imagines what it would be like to live in a country which had no past, an unimaginable future and in which your present is always, always watched. It tells the story of Winston Smith’s various attempts to rebel against the regime.

Key Quotations

A Christmas Carol Knowledge Organiser Key quotations Scrooge ‘as solitary as an oyster’ ‘as hard and sharp as flint’ ‘squeezing, wrenching, grasping, covetous old sinner’ ‘tight-fisted hand at the grindstone’ ‘no warmth could warm, no wintry weather chill’ ‘Are there no prisons? Are there no workhouses?’ ‘decrease the surplus population’ ‘a solitary boy neglected by his friends’ ‘lonely boy sitting by a feeble fire’ “Nothing. There was a boy singing a Christmas Carol at my door last night. I should like to have given him something: that's all” “if you have aught to teach me, let me profit by it” ‘ Scrooge hung his head to hear his own words quoted by the Spirit, and was overcome with penitence and grief’ "Spirit!" he cried, tight clutching at its robe, "hear me. I am not the man I was” “I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future” “I am as giddy as a schoolboy” “Not a farthing less. A great many back payments are included in it” ‘Scrooge was better than his word. He did it all, and infinitely more; and to Tiny Tim, who did not die, he was a second father’ Marley ‘ Old Marley was as dead as a door-nail’ “I wear the chain I forged in life…I made it link by link, yard by yard, and of my own free will I wore it” ‘ The chain was made up of cash boxes, ledgers, heavy purses’ “Mankind was my business! […] The deals of my trade were but a drop in the comprehensive ocean of my business” Ghost of ‘like a child: yet not so like a child as like an old man’ ‘ from the crown of its head there sprung a bright clear jet of light’ “ would you so soon put out, with worldly Christmas hands, the light I give. Is it not enough that you are one of those whose passions made this cap, and force me through whole trains of years to wear it low upon my Past brow” "Rise. And walk with me.” “Leave me! Take me back. Haunt me no longer!" Ghost of ‘there sat a jolly Giant, glorious to see, who bore a glowing torch, in shape not unlike Plenty's horn, and held it up, high up, to shed its light on Scrooge’ ‘ It was clothed Christmas in one simple green robe, or mantle, bordered with white fur’ ‘free as its genial face, its sparkling eye, its open hand, its cheery voice, its unconstrained demeanour, and Present its joyful air’ “I see a vacant seat […] in the poor chimney-corner, and a crutch without an owner, carefully preserved. If these shadows remain unaltered by the Future, the child will die” “If he be like to die, he had better do it, and decrease the surplus population” ‘the ghost grew older, clearly older’ ‘From the foldings of its robe, it brought two children; wretched, abject, frightful, hideous, miserable’ “This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom” Ghost of ‘The Phantom slowly, gravely, silently approached. When it came, Scrooge bent down upon his knee; for in the very air through which this Spirit moved it seemed to Christmas Yet scatter gloom and mystery’ ‘Scrooge feared the silent shape so much that his legs trembled beneath him’ "Spirit…I see, I see. The case of this unhappy man might be my to Come own. My life tends that way, now” ‘ Still the Ghost pointed downward to the grave by which it stood’ Belle “Our contract is an old one” “Another idol has displaced me” “A golden one” “I have seen your nobler aspirations fall off, until the master passion, Gain engrosses you” Fezziwig "Why, it's old Fezziwig! Bless his heart; it's Fezziwig alive again!" ‘They shone in every part of the dance like moons’ ‘Fezziwig cut -- cut so deftly, that he appeared to wink with his legs’ “The happiness he gives, is quite as great as if it cost a fortune” “Yo ho there! Ebenezer! Dick! No more work tonight!” Fred “I have always thought of Christmas as a good time, a kind, forgiving, charitable, pleasant time” “Don’t be angry Uncle. Merry Christmas!” "I mean to give him the same chance every year, whether he likes it or not, for I pity him." "Let him in! It is a mercy he didn't shake his arm off." Crachit family ‘ The clerk’s fire was so very much smaller that it looked like only one coal’ ‘dressed out but poorly in a twice-turned gown’ ‘his threadbare clothes darned up and brushed, to look seasonable’ ‘Alas for Tiny Tim, he bore a little crutch, and had his limbs supported by an iron frame’ “he hoped the people saw him in the church, because he was a cripple, and it might be pleasant to them to remember upon Christmas Day, who made lame beggars walk, and blind men see” ‘Such a bustle ensued that you might have thought a goose the rarest of all birds; a feathered phenomenon’ ‘Mrs Cratchit entered -- flushed, but smiling proudly -- with the pudding, like a speckled cannon-ball’ ‘ Bob held his withered little hand in his, as if he loved the child, and wished to keep him by his side, and dreaded that he might be taken from him’ “A merrier Christmas, Bob, my good fellow, than I have given you for many a year. I'll raise your salary, and endeavour to assist your struggling family” Key themes and ideas Settings Poverty, Fate, Charity, Transformation, Capitalism, Greed, Money, Redemption, Family, Scrooge’s workplace, Scrooge’s living room, Scrooge’s bedroom, the village from Scrooge’s Friendship, Religion, Morality, Isolation/Loneliness, Choices, Memory and the past, childhood, Scrooge’s school, Fezziwig’s party, the Crachit residence, the streets of London, Compassion, Forgiveness, Guilt and blame, Time, Rationality the Beetling shop, Fred’s residence, the graveyard.

Poverty

Social and Historical Context Industrial Revolution The Workhouse

The population of the towns and cities was During the Victorian era, Britain became one increasing rapidly. Due to the effects of the of the world’s primary economic powers. industrial revolution, people were flocking After the invention of steam power, many into the towns and cities in search of people moved from rural areas to the cities employment. Large numbers of people were to search for higher paying work. The looking for work, so wages were low, barely people who moved to the city in search of above subsistence level. If work dried up, or work were dubbed the “working class”. was seasonal, men were laid off, and Britain became an industrial hub and the because they had hardly enough to live on economy was strong. With a sharp increase when they were in work, they had no in production, Britain’s trade industry savings to fall back on. Living conditions for increased drastically as well. Everything the poor were appalling- large houses were converted from traditional, manual labour turned into flats and the landlords who to machine-driven, highly-productive owned them, were not concerned about the labour. This caused a reduction in the upkeep or the condition. These houses were amount of men needed for work, which extremely overcrowded and dirty. There therefore increased poverty levels and were children living with their families in crime in the cities. Working with machinery these desperate situations but there were was also was more dangerous and life also numerous homeless children living on threatening for the workers. the streets of London. Sometimes, the only water the poor had access to was from the sewage ditch in the street. Dickens’ ideas and intentions Dickens’ writing criticised economic, social, and moral issues in the Victorian era. He showed compassion and empathy towards the vulnerable and disadvantaged people in English society, and help to bring about several important social reforms. Dickens’ deep social commitment and awareness of social issues come from his traumatic childhood, where his father was imprisoned for debt, and he was forced to work in a shoe-blacking factory at 12 years old. In his adult life, Dickens developed a strong social conscience and empathised with the victims of social and economic injustice. Dickens’ intention in A Christmas Carol is to draw readers’ attention to the plight of the poor and to highlight the hypocrisy of Victorian society. He juxtaposes the wealth and greed of capitalists with the poorer classes and draws attention to the way in which the greed and selfishness of some impacts on the quality of the lives of others. His moral message appears to be that we should care for our fellow man. The transformation of Scrooge suggests that Dickens feels it is never too late for change and redemption. Dickens emphasises the importance of family, friendship and charity in bringing about this change.

The Poor Law Amendment Act of 1834 allowed the poor to receive public assistance only if they went to the workhouse. Workhouses were deliberately made to be miserable in order to deter the poor from relying on public assistance. In the workhouse, the poor had to work for their food and accommodation. Workhouses were appalling places and the poor would often beg on the streets or die to avoid going to these places. Upon entering the workhouse, the poor were stripped and bathed. If a family entered the workhouse, they were split up and they would be punished if they tried to speak to one another. Children received an education which did not include the two most important skills of all, reading and writing, which were needed to get a good job. They sometimes were ‘hired out’ to work in factories and mines where they were made to do dangerous and deadly jobs. Language Satire- use of humour or ridicule to criticise Asyndeton- list without conjunctions Polysyndeton- list with conjunctions (and) Simile- comparing using ‘like’ or ‘as’ Metaphor- saying one thing is another Personification- make object human Pathetic fallacy- weather to create mood Pathos- language to evoke pity Allusion- reference to another literary work Hyperbole- exaggerated statement Connotation- associated meaning of word Characterisation- built up description of character in text Semantic field- words related in meaning Imagery- visually descriptive language

Capitalism

The word capital means “something of value”. Capitalism is an economic system in which people who own the means of production (factories, land, shops, tools, machines, shipping companies etc.) are able to make a lot of money by producing what people want and need. Capitalism has a more or less free market economy. That means prices move up or down according to the availability of the products. The people who own the businesses (capitalists) produce these popular goods and employ workers on a wage to produce them. These workers use their skills to produce products which are then sold for a profit by the business owner. The profit is not shared with the employees. Some people argue that this system hurts workers, because businesses make more money by selling things than they pay the workers. Business owners become rich while workers remain poor and exploited. Structure and Form Conflict- problem faced by characters Resolution- point where conflict is resolved Foreshadowing- clue about something later Foreboding- sense that something will occur Juxtaposition- two contrasted ideas Backstory- insight into character’s past Exposition- revelation of something Poetic justice- good rewarded bad punished Melodrama- exaggerated characters/events Motif- repeated image or symbol Antithesis- contrast of ideas in same grammatical structure Authorial intrusion- where author pauses to speak directly to reader Allegory- characters/events represent ideas about religion, morals or politics

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Themes & Ideas Character

Language Techniques

caricatures - exaggerated types hyperbole - exaggerated descriptions archetype - typical, classic character ideas not characters e.g. Scrooge as 'Greed' Scrooge's character arc allegorical characters - hidden moral Character contrasts e.g. Fred VS Scrooge Names often reflect characters catchphrases for characters ‘Bah Humbug!’

irony and ironic tone/style use of humour / Dickens’ voice symbolism e.g. Marley's chain religious symbolism religious imagery e.g. Scrooge's tiles pathetic fallacy / Gothic setting *Scrooge unaffected by weather at first Foreshadowing typical Gothic genre conventions personification of weather / setting creative / inventive simile Metaphors / metaphorical language imagery e.g. of death, steel, stone Symbolic use of colour Lexical fields to reinforce meanings sibilance (alliteration with 's') parallel structure / list of 3 repetition to reinforce key ideas sensory language careful use of adverbs precise use pre-modifying adjectives CONTRAST - contrast across text Juxtaposition - 2 ideas together that 'jar' Oxymoron – 2 opposites in paradox

Narrative Form / Structure form of a novella (short novel) unusual use of 'staves' for chapters like music staves remind of Christmas carols (moral songs) story is an allegory (moral meaning) Transformation Narrative (before and after) Scrooge's emotional and moral journey Prologue gives Dickens’ humorous tone Stave 1 acts as EXPOSITION - setting the scene Middle staves 2-4 are ACTION / back-story Stave 5 acts as EPILOGUE / RESOLUTION significance of 3 ghosts – superstition & all time 3rd person limited narrative (Scrooge's perspective) some 'free indirect style' Scrooge's voice Dickens 'bursts in' with own voice - narrator sense of artificial, constructed tale (artifice) use of 'once upon a time' near start: fairy tale /myth Clear beginning and ending to each stave

LEARN KEY EVENTS & CHARACTERS FOR EACH STAVE & LEARN TECHNIQUES

moral responsibility Christian values community values Christian charity benevolence / generosity redemption (saving from sin) Identity Spiritual life VS 'real' life Penance (making up for bad deeds)

PAPER2 SECTION A: ‘A Christmas Carol’ Dickens Part a) CLOSE ANALYSIS of extract (30 mins) LEVEL 4 (13-16 marks) sustained analysis of structure, form, language & effect on reader. Accurate use of technical terms LEVEL 5 (17-20 marks) evaluate relationship language, structure form. Precise technical terms

Contrasts / binary oppositions work life VS home life good VS evil heaven VS hell rich VS poor mean VS generous sociable VS solitary life VS death

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‘Marley was dead, to begin with.’

Scrooge and Bob are both working late on Christmas Eve.

‘solitary as an oyster’

Scrooge turns down Fred’s invitation, scorns the charity collectors and reluctantly gives Bob Christmas Day off.

Scrooge slowly makes his way home and sees Marley’s face in his door knocker.

‘decrease the surplus population’

‘Darkness is cheap, and Scrooge liked it.’

Later that evening, Marley’s ghost appears.

‘I wear the chain I forged in life.’

Marley warns Scrooge that he must change his ways to avoid the same fate. He explains that he’ll be visited by three spirits.

Scrooge is taken to the village where he grew up and sees his younger self in school: alone at Christmas.

Scrooge then sees happier Christmases: his sister Fan coming to take him home and a party organised by his old boss, Fezziwig.

‘A solitary child, neglected by his friends…’

‘No more work tonight. Christmas Eve, Dick’

The Ghost of Christmas Past appears.

‘Mankind was my business’

‘sprung a bright clear jet of light’

Scrooge is then shown his split from Belle, before being shown Belle’s family, who remind Scrooge of missed opportunities.

Is the happy ending foreshadowed by the fact that Scrooge’s mean father had a change of heart? Anything is possible. The reader inherently trusts the omniscient narrator, due to their lighthearted, conversational, and occasionally sarcastic, tone. They encourage us to dislike Scrooge, initially, before making us sympathise with him by the end. Repetition and hyperbolic lists help to exaggerate the atmosphere (often celebration). It can also act as to quicken the pace and add excitement. Sensory language is used to bring a scene to life. Likewise personification brings life to abstract concepts (I&W) or settings. The novella is allegorical, meaning it has a moral message hidden within it.

Similes are frequently used to lighten the mood. Whereas, metaphors are often used to darken it. Dickens often darkens the mood to highlight his message about social responsibility: Marley, I&W, Joe’s shop. Much like a piece of drama, pay attention to the dialogue. Descriptions of the speaker’s manner and body language indicate their thoughts and feelings, as well as their choice of words. Compare the Cratchits before and after TT’s death. Questions are also cleverly employed by Dickens. The narrator asks questions to engage the reader or leaves them unanswered to force them to reflect. Past uses questions to make Scrooge consider his emotions. Present uses them to force Scrooge to consider his attitude. Scrooge’s questions in S4 indicate his determination to change. Although they’re aimed at Scrooge, the spirits’ questions indirectly make the reader consider their own attitude.

AO1: Characters

Dickens frequently uses symbols to represent larger ideas within the novella. A longer list can be found in the black box, but one of the most famous is the use of fire to symbolise the Christmas spirit. Scrooge’s ‘small fire’ in S1 represents his lack of Christmas spirit. By S5 Scrooge is telling Bob to buy another ‘coal scuttle’, representing his willingness to share his Christmas spirit with others.

Scrooge: - Motivated by money - He is cold hearted - His past shaped him - Has to see himself as others see him - Tiny Tim is his catalyst for change - Scrooge’s values change - His actions in S5 mirror those in S1 - His change is the story

Dickens regularly makes use of contrasts to emphasise a set of ideas or values. Scrooge’s selfish nature, in Stave 1, is exacerbated by its juxtaposition with the selfless attitudes of Fred, Bob and the charity collectors, for example.

AO3 : Context Charity / Education:

Society:

Society was very religious, and many Victorians feared God’s punishment, for not abiding to the strict moral code: Marley’s penance would have frightened the upper class. In contrast, Dickens believed good Christians should be humble, charitable, faithful and selfless, rather than merely appearing religious. Christmas was becoming more secular and Dickens wanted to spread the message that charity, forgiveness and generosity should be all year round.

John Malthus argued that poverty was inevitable and there wasn’t enough to go around. Dickens, in contrast believed that the rich just needed to be more generous. Initially, Scrooge represents the uncaring attitudes of Malthus et al., who wrongly (or so Dickens said) thought that charity encouraged poverty and advocated workhouses. Dickens knew about the plight of the poor, having grown up in poverty, and wanted to raise awareness; hence the sympathetic Cratchits.

Industrial Revolution created a huge gap between rich and poor; however, it encouraged selfishness from the rich. Dickens believed in collective responsibility and Scrooge’s change echoes this. He also thought education could prevent crime, poverty and disease; Ignorance is a personified representation of this problem. Dickens hoped that the ever-positive Tiny Tim would draw sympathy from upper class readers for children and the issues they faced.

Industrial Revolution created jobs and drew large numbers of people together, which resulted in poor living conditions amongst the poor. The population grew (too?) rapidly and conditions worsened. Overcrowding, like the slums in S4, led to hunger, disease and crime. The slums were scary places for the rich, like Scrooge. Children suffered the worst (Tiny Tim / I&W) and it was very difficult to escape poverty. Dickens aimed to raise awareness for the poor: discouraging the rich’s ignorance.

S1 = character flaws S2/3/4 = lessons S5 = completes the circular structure where mirrored events emphasise the change in Scrooge

‘And so, as Tiny Tim observed, God bless us, every one!’

We’re told that Tiny Tim will survive, and that Scrooge celebrates Christmas for the rest of his life.

Marley:

The Cratchits:

- Represents what Scrooge would be - Punished by God - His appearance is disturbing - He is full of regret - He is now selfless

- Poor but loving - B polite to Scrooge - B = devoted father -Mrs C good natured but busy - Tiny Tim is frail but doesn’t moan

others - Compassionate, jolly and peaceful - Shows Xmas despite isolation - Sad about poverty

Fred:

Past:

Yet to Come:

- He is Scrooge’s foil, due to their contrast - He’s very cheerful - Shows true Christmas Spirit -Warm and friendly

- Memory and truth Quiet but strong -Fan = Sorrow - Fezziwig = antithesis -Belle = regret - S is reluctant

-Mysterious, silent and intimidating - Scares Scrooge with the future - Pities Scrooge - Moment of change -Symbol of death?

Symbolism

Poverty:

‘and to Tiny Tim…he was a second father’

‘…an antique scabbard; but no sword was in it’ ‘If these shadows remain unaltered by the future, the child will Present: die’ - Generously helps

Marley’s chains symbolise his obsession Present’s scabbard symbolises peace on Music and dance symbolise happiness with material wealth and money. earth The bed is a recurrent motif, which Ignorance and Want are the Yet to Come’s shroud symbolises suggests the ghosts want to access personification of society’s problems. uncertainty Scrooge’s most private thoughts.

Religion:

Past’s light represents truth from memories

Character sentence stems: - Scrooge, an obviously caricatural but unnervingly accurate depiction of the Victorian upper class, is… - Scrooge, who initially represented the notoriously selfish Victorian business owners, is… - The Cratchit family, a deliberately sympathetic portrayal of the Victorian poor, are… - Tiny Tim, whose frailty was indicative of the plight of the poorest children in Victorian cities, is… - Fred, whose positivity formed an ideal which Dickens wanted the wealthy to emulate, is…

He buys the Cratchits a huge turkey then joins Fred and his friends for Christmas dinner.

Fire and light represent emotional warmth

Weather reflects Scrooge’s character and emotions. Pathetic fallacy is often used by Dickens to set the tone.

‘A Merry Christmas and a Happy New Year to the old man, whatever he is’. ‘They are Man’s… And they cling to me, appealing from their fathers.’ ‘You are about to show me shadows of the things that have not happened, but will happen in the time before us’

AO1: Themes Family:

Poverty:

Redemption:

Christmas:

-Source of comfort - Full of happiness - Scrooge didn’t see the point, at first -Scrooge is isolated and alone to contrast the warmth of families - Scrooge finally embraces his chance for a family

-Dickens exposes unfair treatment of poor - Wealthy must take responsibility - Cratchits = Victorian poor - Poverty can be seedy - Not as simple as rich and poor

-The reality of the visions changes S - There are hints S will be redeemed - Scrooge’s changed behaviour leads to redemption - Scrooge isn’t forced to change - Transformed by learning empathy

- Brings out the best in people - Involves generosity and kindness - Religious and secular side - Powerful enough to transform Scrooge -Message = all year

‘and therefore I am about to ‘He was at home in five minutes.‘My dear Mr Scrooge, are Nothing could be heartier.’ raise your salary’ you serious?’

The next day Scrooge gives Bob a pay rise.

Scrooge and the Ghost stop at the Cratchit’s house on Christmas Day. Scrooge learns Tiny Tim will die.

‘Another idol has displaced me’…’A golden one’

AO2: Technical analysis Although the basic narrative is in chronological order, the spirits are able to manipulate time to suggest their power. The continual references to time (running out) drives the plot and builds tension.

The Ghost of Christmas Present arrives.

Scrooge has completely changed. He laughs, dances and wishes passers-by a Merry Christmas.

‘I am as merry as a school--boy’ school Scrooge finds himself back in his own bed on Christmas Day.

‘Old Scratch got his own at last, hey?’

‘Every person has a right to take care of themselves. He always did’

‘I will live in the Past, the ‘…read upon the stone of the ‘I am sure we shall none of Present, and the Future’ neglected grave his own name…’ us forget poor Tiny Tim.’ Scrooge promises the Ghost that he will honour Christmas and change the course of his life.

The Ghost takes Scrooge to a graveyard and points to a grave with Scrooge’s name on it.

Scrooge and the Ghost visit the Cratchits again. He’s upset to find out that Tiny Tim has died.

Scrooge and the Ghost see people all over the world enjoying Christmas, in spite of their isolation. They then visit Fred’s house. The guests at his party make fun of Scrooge and his attitude towards Christmas. The Ghost reveals two starving children: Ignorance and Want. The ghost warns Scrooge to beware of them. The Ghost of Christmas Yet to Come collects Scrooge.

The Ghost silently shows Scrooge the uncaring reaction of some people to an unknown man’s death. Scrooge sees a group of thieves trying to sell the dead man’s belongings, including the shirt from his corpse.

Scrooge is shown a corpse under a bed sheet and a woman rejoicing that her debt collector is dead

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Year 10 - Knowledge Organiser – An Inspector Calls An Inspector Calls a play written by J.B. Priestley about the social classes set in 1912.

Context

Characters

Priestley wrote the play in 1945, after in 1945. It is set in 1912 (although not explicitly stated, there are references to the Titanic setting sail). Priestley was a socialist who believed in the destruction of the class system. Priestley was a war journalist and saw first hand the impact of WW1/2. Priestley deliberately set his play in 1912 because the date represented an era when all was very different from the time he was writing. In 1912, rigid class and gender boundaries seemed to ensure that nothing would change.

Yet by 1945, most of those class and gender divisions had been breached. Priestley wanted to make the most of these changes. Through this play, he encourages people to seize the opportunity the end of the war had given them to build a better, more caring society.

Arthur Birling – Husband of Sybil, father of Eric and Sheila. Independent factory owner. Strongly believes in capitalism and not contributing to those more needy in society. Fired Eva when she asked for a pay rise. Likes Gerald because he is richer and sees a potential business deal to be made.

Eric Birling – son of Arthur and Sybil, brother to Sheila. Works for his father but not particularly hard. Likes to party and has a drinking problem. Undergoes transformation from capitalist to socialist. Has a difficult relationship with Arthur. Met Eva in a bar known for prostitution nd slept with her. Stole money from Arthur when he discovered she was pregnant, which led to Eva leaving him.

Sybil Birling – wife of Arthur, mother of Eric and Sheila. Richer and higher in class than Arthur. Strongly believes in capitalism and not contributing to those more needy. Rejected Eva’s pleas for charity help when Eva called herself Mrs. Birling. Unapologetic for her beliefs. Treats Eric and Sheila like they’re babies.

Gerald Croft – fiancé of Sheila, son of Lord and Lady Croft. Very wealthy and a ‘man about town’ . Engaged to Sheila although relationship has some difficulties. Met Eva in a bar and ‘saved’ her from alecherous male. Moved her into his friend’s flat, gave her money and slept with her whilst he was seeing Sheila. They broke up naturally.

Sheila Birling – daughter of Arthur and Sybil, sister of Eric, fiancée of Gerald. Does not work but likes to shop. Undergoes transformation from capitalist to socialist. Starts off very dependent but becomes more independent as play goes on. Had Eva fired due to jealousy of not as looking good as Eva in a dress.

Eva Smith – Not seen in the play. Eva represents the lower class females of the time and their struggles. Was working class and struggled to get a job after being fired from Birling’s/Milwards. Got pregnant and was not given any charity money so decided to take her own life.

Inspector Goole: Mysterious fake police inspector who knew about Eva’s life and reported her death before the police. Serves as Priestley’s mouthpiece as a reminder of socialist views. Warns of war etc.

Plot Act 1: Set in April 1912, Brumley, Midlands, UK. The Birling family and Gerald Croft are celebrating Sheila Birling's engagement to Gerald with a dinner. Mr Arthur Birling, Sheila's father, is particular pleased since the marriage means closer links with Crofts Limited which is run by Gerald's father. Crofts Limited is a rival company to Mr Birling's company, Birling and Company, Mr Birling hopes that these family links will bring the two competitors together to 'lower costs and higher prices'. When the women leave the room, Mr Birling lectures his son, Eric Birling, and Gerald about the importance of every man looking out for himself if he wants to get on in life. The doorbell rings unexpectedly during Mr Birling's speech to Eric and Gerald, they were not expecting a visitor. Edna (the maid) announces that an inspector has arrived. Inspector Goole says that he is investigating the death of a young woman who committed suicide, Eva Smith. Mr Birling is shown a photograph of Eva, after initially denying recognising the woman in the photo, he remembers firing her in 1910 for organising a strike over workers pay. Birling feels justified for his actions and does not believe he committed any wrongdoing. Inspector Goole moves the investigation over to Sheila. Sheila recalls also having Eva sacked about her manner when served by her in an upmarket department store (Eva smirked to another shop assistant about the dress Sheila tried). Sheila regrets her actions and feels hugely guilty and responsible for Eva's death. The Inspector reveals that Eva Smith changed her name to Daisy Renton. Gerald acts guilty and Sheila notices his worry, she confronts Gerald when the Inspector leaves the room. Gerald reveals to Sheila he had an affair with Daisy Renton.

ACT 2 : Gerald explains to The Inspector that he had an affair with Eva, but hasn't seen her since he ended their relationship back in Autumn 1911. Sheila gives her engagement ring back to Gerald. The Inspector turns his attention to Mrs Sybil Birling, she confesses that she also had contact with Eva, but Eva gave herself a different name to Mrs Birling. Eva approached a charity chaired by Mrs Birling to ask for help. Eva was desperate and pregnant but help was refused by Mrs Birling because she was offended by the girl calling herself 'Mrs Birling'. She tells Eva that the baby's father should be made entirely responsible. She also tells Inspector Goole that the father should be held entirely responsible and should be made an example of ACT 3: Eric is revealed as the father. He stole money from Mr Birling's office to provide money to Eva. Eric is angry at his mother when he learns that she has refused to help Eva. The Inspector tells them that they are all partly to blame for Eva's death and warns them of the consequences of people not being responsible for each other, "If men will not learn that lesson, when they will be taught it in fire and blood and anguish". After Inspector Goole leaves, the family begin to suspect that he was not a genuine police inspector. A phone call to the Chief Constable confirms this. Next, they phone the infirmary to be informed that no suicide case has been brought in. Mr Birling, Mrs Birling and Gerald congratulate themselves that it was all a hoax and they continue can continue as before. This attitude upsets Sheila and Eric. The phone rings. Mr Birling announces to the family that a girl has just died on her way to the infirmary, a police inspector is coming to question them

Themes •

Responsibility, class, gender, society, money, age, parent/child relationship

Key vocabulary Socialist

Capitalist

Inequality

Universal suffrage

stereotype

feminism

conscience

morality

welfare

patriarch

class

misogyny

Location Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1 Act 1

Act 1 Act 1 Act 1 Act 1 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2

Quotation Spoken by Birling portentous…rather provincial in his speech SD x her husband's social superior SD rather excited SD not quite at ease SD easy well bred young man about town SD except for all last summer, when you never came near me, Sheila and I wondered what had happened to You’re squiffy. Sheila we may look forward to the time when Crofts and Birlings Mrare Birling no longer competing x but are workin you’ll be marrying at a very good time. Mr Birling x there isn’t a chance of war. Mr Birling x and unsinkable, absolutely unsinkable. Mr Birling x there’s a very good chance of a knighthood – so long as we Mr behave Birling ourselves, x don’t get into the p complacently SD x a man has to mind his own business and look after himself Mrand Birling his own –x impression of massiveness, solidity and purposefulness. SD If we were all responsible for everything that happened to Mreverybody Birling we’d x had anything to do wit a lively good-looking girl – country-bred, I fancy – and she’d Mr Birling been working x in one of our machine s They were averaging about twenty-two and six, which was Mrneither Birling more xnor less than is paid gene She’d had a lot to say – far too much – so she had to go. Mr Birling x We play golf together sometimes up at the West Brumley. Mr Birling x It’s just that I can’t help thinking about this girl – destroying Sheila herself so horribly – and I’ve been so after two months, with no work, no money coming in, and Theliving Inspector in lodgings, with no relatives to h But these girls aren’t cheap labour – they’re people. Sheila it would do us all a bit of good if sometimes we tried to put Theourselves Inspectorin the place of these young A nice little promising life there, I thought, and a nasty mess The somebody’s Inspector made of it. If she’d been some miserable plain little creature, I don’t suppose I’d have done it. But she was very pretty and looked as if she could take care of herself. I couldn’t be sorry for her. Sheila it didn’t seem to be anything very terrible at the time. Sheila [startled]: S Why – you fool – he knows. Of course he knows. And I hate to think how much he knows that we And you think young women ought to be protected against Inspector unpleasant and disturbing things? we have to share something. If there’s nothing else, we’llInspector have to share our guilt. this child, Mrs Birling girls of that class Mrs Birling You mustn’t try to build up a kind of wall between us andSheila that girl. If you do, then the Inspector w haughtily Mrs Birling You know of course that my husband was Lord Mayor only Mrstwo Birling years ago and that he’s still a mag He’s only a boy. Mrs Birling He’s been steadily drinking too much for the last two years. Sheila What’s the matter with that child? Mr Birling x It would be much better if Sheila didn’t listen to this story Mrs at all. Birling She looked young and fresh and charming and altogetherGerald out of place down there. Old Joe Meggarty, half-drunk and goggle-eyed, had wedged Gerald her into a corner with that obscene fa

Act 2 Act 2 Act 2 Act 2

Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 2 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3

Joe Meggarty’s advances had left her rather shaken Gerald she was desperately hard up and at that moment was actually Geraldhungry. She was young and pretty and warm-hearted – and intensely Gerald grateful. I became at once the most I didn’t feel about her as she felt about me. Gerald She told me she’d been happier than she’d ever been before – but that she knew it couldn’t last – hadn’t expected it to last. Gerald You and I aren’t the same people who sat down to dinner here. Sheila we’ve no excuse now for putting on airs and that if we’veSheila any sense we won’t try. a piece of gross impertinence Mrs Birling I wasn’t satisfied with this girl’s claim – she seemed to me Mrs to Birling be not a good case – and so I used m I think you did something terribly wrong – and that you’re The going Inspector to spend the rest of your life regr Go and look for the father of the child. It’s his responsibility. Mrs Birling She was claiming elaborate fine feelings and scruples that Mrs were Birling simply absurd in a girl in her posit Don’t stammer and yammer at me again, man. I’m losingThe all patience Inspectorwith x you people. silly and wild and drinking too much. Mrs Birling, quoting Eva As if a girl of that sort would ever refuse money! Mrs Birling if this boy had been giving her stolen money, then she came The Inspector to you for help because she wanted t he’d be entirely responsible – because the girl wouldn’t have Mrs Birling come to us, and have been refused a No hushing up, eh? Make an example of the young man,The eh?Inspector Public confession of responsibility – [She stops, and exchanges a frightened glance with her husband.] SD [ERIC goes for a whisky. His whole manner of handling the SDdecanter and then the drink shows his f I insisted – it seems. I’m not very clear about it, but afterwards Eric she told me she didn’t want me to I wasn’t in love with her or anything – but I liked her – she Eric was pretty and a good sport I’m old enough to be married, aren’t I, and I’m not married, Ericand I hate these x fat old tarts round th She didn’t want me to marry her. Said I didn’t love her – Eric and all that. In a way, she treated me – a you’re not the kind of father a chap could go to when he’s Eric in trouble x Then – you killed her. She came to you to protect me – and Ericyou turned her away – yes, and you ki each of you helped to kill her. Remember that. Never forget The it. Inspector used her for the end of a stupid drunken evening, as if she The was Inspector an animal, a thing, not a person. I’d give thousands – yes, thousands – Mr Birling x One Eva Smith has gone – but there are millions and millions The Inspector and millions of Eva Smiths and John There’ll be a public scandal. Mr Birling x I was almost certain for a knighthood in the next Honours MrList Birling – x don’t forget I’m ashamed of you as well – yes, both of you. Eric x now you’re beginning all over again to pretend that nothing Sheila much has happened – The point is, you don’t seem to have learnt anything. Sheila x I didn’t notice you told [The Inspector] that it’s every man Eric for himself. x He was our police inspector all right. Eric I told him quite plainly that I thought I had done no moreMrs than Birling my duty. I met a police sergeant I know down the road. I Gerald I suppose we’re all nice people now. Sheila It’s what happened to the girl and what we all did to herEric that matters.

Act 3 Act 3 Act 3 Act 3 Act 3 Act 3 Act 3

they’re so damned exasperating. They just won’t try to understand Mr Birling our position But how do you know it’s the same girl? Gerald It frightens me the way you talk. Sheila You’re pretending everything’s just as it was before. Sheila You’re ready to go on in the same old way. Sheila They’re over-tired. Mrs Birling they stare guiltily and dumbfounded, SD x

A-PDF OFFICE to remove the watermark Character Plot TO PDF DEMO: Purchase from www.A-PDF.com Act 1 Set in April 1912, Brumley (Midlands). The Birling family and Gerald Croft are celebrating Sheila Birling’s engagement to Gerald Croft with a dinner. Mr. Birling lectures his son, Eric Birling, and Gerald about the importance of every man looking out for himself if he wants to get on in life. Edna (the maid) announces that an inspector has arrived. Inspector Goole says that he is investigating the death of a young woman who committed suicide, Eva Smith. Mr. Birling is shown a photograph of Eva and, after initially denying recognising the woman in the photo, he remembers firing her in 1910 for organising a strike over workers’ pay. Sheila recalls also having Eva sacked about her manner when served by her in an upmarket department store. The Inspector reveals that Eva Smith changed her name to Daisy Renton. Gerald reveals to Sheila he had an affair with Daisy Renton. Act 2 Gerald explains to the Inspector that he had an affair with Eva but hasn’t seen her since he ended their relationship back in Autumn 1911. Sheila gives her engagement ring back to Gerald. The Inspector turns his attention to Mrs. Birling. She confesses that she also had contact with Eva but that Eva gave herself a different name. Eva approached a charity chaired by Mrs. Birling to ask for help. Eva was desperate and pregnant but help was refused by Mrs. Birling because she was offended by the girl calling herself Mrs. Birling. She tells Eva that the baby’s father should be made entirely responsible. She also tells Inspector Goole that the father should be held entirely responsible and be made an example of. Act 3 Eric is revealed as the father. He stole money from Mr. Birling’s office to provide money to Eva. The Inspector delivers his final speech. After he leaves, the family begin to suspect that he was not a genuine police inspector. A phone call to the Chief Constable confirms this. Next, they phone the infirmary to be informed that no suicide case has been brought in. Mr. Birling, Mrs. Birling and Gerald congratulate themselves that it was all a hoax and they can continue as before. This attitude upsets Sheila and Eric. The phone rings. Mr. Birling announces to the family that a girl has just died on her way to the infirmary and a police officer is coming to question them.

Inspector Goole

Priestley’s mouthpiece; advocates social justice.

Righteous, powerful, unconventional, imposing, sardonic and mysterious.

Arthur Birling

Businessman and capitalist who is against social equality. A self-made man (new money).

Arrogant, pompous, selfish, stubborn, prejudiced and overconfident.

Sybil Birling

Husband’s social superior; believes in personal responsibility.

Cold, supercilious, prejudiced and remorseless.

Sheila Birling

Changes her views and pities Eva. Regrets her actions.

Curious, compassionate, astute, remorseful and sensitive.

Eric Birling

Drinks too much; regrets his actions.

Reckless, immature, frustrated and compulsive.

Gerald Croft

Businessman engage to Sheila and politically close to Birling.

Evasive and pragmatic.

Eva Smith

Comes to represent victims of social injustice.

Emblematic, vulnerable, principled.

Theatrical Stagecraft: Dramatic Devices Dramatic Irony

The audience knows what the characters don’t.

Stage directions

Instructions for the actors; often revealing.

Setting

Constant throughout (the Birlings’ Dining Room) but subtle changes e.g. lighting to reflect a change in mood.

Three Unities or Classical Unities

Rules for drama derived from Aristotle’s Poetics. Unity of action: a play should have one action. Unity of time: the action should occur over a period less than 24 hours. Unity of place: a play should exist in a single physical space.

Key Info Written: 1945 First Performed: Russia 1945 England 1946

Set: April 1912 (one evening) Structure: Three Act Play Genre: Drawing Room Play

Context 1912 Just before the sinking of the Titanic and a couple of years before WW1. British society was completely divided by class. Those with the most money had the most power. Only men who owned property could vote; women couldn’t vote. There was not much government support which is why charities were so important. Things were beginning to change: there was miner’s strike in 1912 (the largest the country had ever seen) and the Labour Party formed in 1906 to represent the interests of the working class. Women Women in 1912, regardless of social class, were seen as second-class citizens – a fact underlined by their lack of a right to vote. It was the deplorable state of working-class women’s lives that prompted Emmeline Pankhurst to found the Women’s Social and Political Union (WSPU) in 1903. It was a women-only organization that campaigned for the vote for women. Pankhurst believed the lack of the vote was the key factor underpinning the inferior status of women in Edwardian Britain. The suffrages fought to bring equality for women. WW1 (1914-1918) WW1 was a watershed moment in European history. Survivors were disillusioned and felt betrayed by the men who sent them to war. Priestley described the war as a ‘huge, murderous public folly’ and felt that ‘the British command specialized in throwing men away for nothing’. He fought in the war and lost many friends and cited the war as the cause for his prejudice against the ruling class. WW1 proved to be a turning point for the campaign for women’s right to vote. During the war, suffragettes effectively put on hold their campaign of civil direct action in the interests of national unity. As men went to the Western Front, women proved how indispensable they were in the fields and armaments factories. By 1918 women over 30 were given the right to vote. The Great Depression / The Great Slump A period of national economic downturn in the 1930s which had its origins in the global Great Depression. By 1932 registered unemployed numbered 3.5 million. The Beveridge Report (published 1942) Proposed the creation of a Welfare State. Called for a dramatic turn in British social policy with provision for nationalized healthcare (NHS) and free education. The Labour Party adopted the report and offered a new comprehensive welfare policy reflecting a consensus that social changes were needed. 1945 Following the end of WW2, the majority of the British people, and particularly the working class and returning servicemen and women, did not want a return to pre-war Conservative economic policies which they blamed for the hardship of the 1930s. There was a mood for widespread social change. At the 1945 general election, Winston Churchill was defeated by the Labour Party headed by Clement Attlee. Many of Beveridge’s reforms were then implemented. ‘Bernard Shaws and H.G. Wellses’. Both the noted Irish playwright George Bernard Shaw (1856-1950) and the father of science-fiction H.G. Wells (1866-1946) were well-known and outspoken socialists.

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(It is an evening in spring, 1912.)

The Birling family are celebrating Sheila’s engagement to Gerald Croft. A celebratory mood is established.

‘working together – for lower costs and higher prices.’

Birling makes a lengthy speech, not only congratulating Gerald and Sheila, but also commenting on the state of the nation.

Arthur gives a speech to Eric and Gerald. He says that every man should look after himself.

Inspector Goole arrives and says that a woman called Eva Smith has committed suicide by drinking bleach.

‘I speak as a hardhard-headed practical man of business’

‘community and all that nonsense’

‘Yes, yes. Horrid business’

3 – I’d give thousands, thousands 3 – There’ll be a public scandal

1 These girls aren’t cheap labour – they’re people 2 – he’s giving us the rope so that we’ll hang ourselves 2 I’m not a child, don’t forget 3 – you don’t seem to have learnt anything 3 – If it didn’t end tragically, then that’s lucky for us. But it might have done. 1 – you can drink to me ‘2 – fairy prince 2 – we can keep it from him 3 – What girl? There would probably four or five different girls 3 – what about this ring?

‘just keep quiet Eric, and don’t get excited’

1 – Girls of that class

AO1: Characters Mr Birling

Mrs Birling

-Pleased with life -Ambitious capitalist - No responsibility -Wants control -Anxious underneath -Powerful language

-Proud of status -Mr B’s ‘superior’ - Strict standards - Superficial charity - Doesn’t change - Has her mind made up throughout

Sheila

Eric

- Different to family - Childish at first - More mature later -Moral standards -Changed by IG -Becomes like the Inspector

- Deeply troubled - Troubles are foreshadowed - Hiding something -Lacks self control -Consequences - Villain & victim?

Gerald

The Inspector

- Eligible bachelor -Future Is bright -A natural Birling? -No regret? - Thinks he’s innocent -Not just bad /good

- Goole / Ghoul? - Omniscient - Authoritative - Different world - Classless -Priestley’s mouthpiece?

2 – I did nothing I’m ashamed of 2 – As if a girl of that sort would ever refuse money

Birling accepts no responsibility and acts arrogantly. He then cools, when he finds out he might not be the only one involved.

It also transpires that Sheila asked for Eva to be sacked from Milwards, later that year, due to Sheila’s jealousy.

‘better to ask for the earth than to take it’

‘How do you get on with our chief constable…?’ constable…?’

‘(she almost breaks down)’

3 – The rude way he spoke to Mr Birling and me. It was quite extraordinary 1 – you’re squiffy 3 – as if she was an animal, a thing, not a person 3 – you’re not the kind of father a chap could go to 3 – You don’t understand anything. You never did. 3 – I can’t see it like that. The girl’s still dead, isn’t she? 1- better to ask for the earth than to take it 2 – we’ll have to share our guilt 3- We are members of one body 3 – millions of Eva Smiths and John Smiths

Sheila’s defiance and Eric’s drinking problem are foreshadowed from the beginning.

Euphemisms make something seem better than what it is. Using euphemisms can represent denial, that someone is unwilling to accept the reality of a situation, or an attempt to hide things.

The ‘pink and intimate’ lighting, at the beginning of the play creates the impression that the Birling’s view the world as romanticised. The ‘brighter’ and ‘harder’ light, upon the Inspector’s arrival, means there’s no-where to hide.

Exits can indicate a character attempting to escape a situation: running away from reality. The Inspector manipulates the character entrances and exits, in order to shift the focus of his interrogation.

The Birling’s costumes are obvious signals of wealth and set them apart from IG’s much plainer appearance. He has no need for superficial decoration.

If a character pauses, it might indicate hesitation, suspicion, or nerves. Priestley regularly builds tension through his pacing: IG slowly reveals information to assert his control, Gerald’s secret is delayed, and all of the character’s, despite being seated to begin with, end up standing and shouting.

In 1912, British society was firmly divided along class lines. Women were controlled by their husbands and the wealthy in Britain thought that life couldn’t get any better. After the wars, and consequent economic problems, life in Britain completely changed. In 1945, the year that WW2 ended and the play was released, society was almost unrecognisable from 1912. Although there was still a class divide, the boundaries had been obscured by the collective war effort and socialist ideas became much more popular. Right-wing ideas, such as private ownership and wealth, were increasingly viewed as out-dated, as greater social responsibility was widely encouraged by socialist political commentators, like Priestley himself. In terms of family life, 1912 was much more heteronormative (strict roles for men and women). The Birling’s epitomise the ‘perfect’ 1912 upper class family , but it’s clear that something was not right. The clear hierarchy is destroyed by the Inspector, as Sheila and Eric begin to think for themselves. Their increasing independence represents the shifting attitude of the (then) younger generation. Their change symbolised the hope for a better society, which, in post-war 1945, was beginning to come to fruition.

(As they stare guiltily and dumbfounded, the curtain falls)

A young woman has just been found dead, after drinking disinfectant. The police are sending an inspector to question the Birling family.

‘…What? – here - ?’ The phone rings. Birling answers and stands there in shock.

The Inspector makes use of imagery to shock the reader or to assert his own control in a situation. His graphic descriptions of Eva’s death would shock an audience, as well as distressing Sheila. Additionally, the Inspector use religious imagery (especially in his final speech) to make himself seem more powerful. His God-like representation adds authority to his language.

Priestley builds tension through placing dramatic moments at the beginning and end of each act.

Consider the context (not specifically assessed)

And a police inspector is on his way here – to ask some – questions’.

When examining dialogue, look out for interruptions by other characters. This can be used to assert dominance.4

Priestley’s choice to set the entire play in one room creates a claustrophobic and intense atmosphere. It emphasies the privacy and isolation of the upper class and hints at their close-minded nature.

2 – you’re behaving like a hysterical child

3 – fire, blood and anguish

An Inspector Calls

It turns out that Arthur Birling sacked Eva from his factory, for striking in protest against low wages.

The Inspector explains that Eva then changed her name to Daisy Renton. Gerald appears shocked and Eric leaves.

Although he wanted to keep it a secret, Gerald confesses to keeping Daisy as his mistress last summer.

Gerald is upset. Mrs B attempts to defend him. Sheila returns his engagement ring and then he leaves.

‘Yes. We can keep it from him.’

‘(startled) what?’

AO2: Language, structure and form

1- isn’t a chance of war 1 – A man has to make his own way 1- community and all that nonsense

The Inspector begins to question the family members, one by one.

The Birling’s use of language makes it obvious that they are upper class characters. Likewise, it’s clear to see that Birling is obsessed with his status, through his use of language. Sheila’s language changes during the play to emphasise her growing maturity (‘mummy’ shifts to ‘mother’). The Inspector’s use of language is perhaps most interesting though. He’s concise, to the point and avoids any confusion. He abruptly interrupts the Birling’s status quo and asserts his own control. He also manipulates silence well. Dramatic irony is when an audience has more information or knows more than a character on the stage. It is often used as a tool to undermine Mr. Birling’s authority in Act One, which immediately presents him as a dislikable and ill-informed character. Ensure that you review stage directions carefully. They give a clear insight into the thoughts and feelings of a character, which can often be lost in the quick interchanges between characters. The Inspector is a master of ‘cutting in’, which acts as to re-assert his authority. Sheila’s stage directions hint at her increasing maturity and Mrs. Birling’s at her unwillingness to change. The opening stage directions ate also worth reading carefully. SDs are just as important as any quote that you will analyse, so do not forget them!

‘As if a girl of that sort would ever refuse money!’

‘I blame the young man who was the father of the child she was going to have.’

‘(with sudden alarm) mother – stop – stop!’

‘absolutely unsinkable’

AO1: Themes

Symbolism: Eva Smith represented the entire of the working class. She’s voiceless and mistreated by upper class characters; this mirrors the power exerted over the proletariat (working class) by the bourgeoisie (upper class) , at the time. The Inspector, with his omniscience, is arguably a symbol for God. The titanic is symbolic of Mr Birling (and capitalism as a whole), as a once proud vessel is brought crashing down.

Class

Age

Gender

- Defines characters - Clear structure - Class = everything? - Class shouldn’t matter? -Actions more important

- Old = out-dated and out of touch - Young = different and responsible - Gerald = oldest young person - Age means nothing - Young can change

- Heteronormative - Women = seen not heard - Men = power - Young women challenge this - Stereotypes broken by the end

Judgement

Life lessons

- Morality play - 7 deadly sins - Omniscience / power of IG - Lesson at the end is most important - Young = moral

- Some never learn - Arrogance of old prevents change - Young try to change - Ignorance was bliss - Sins all around

Responsibility - Mr Birling – no - Mrs Birling – no - Gerald – no - Sheila / Eric – yes - Main focus of IG - Priestley promotes socialist ideas - Anti-capitalist

‘Besides, you’re not the type – you don’t get drunk’

‘You mean – you stole my money?’

The Inspector gets Sybil to confess that she persuaded her charity to reject Eva/Daisy’s appeal for help It transpires that Eva/Daisy was pregnant at the time, but Sybil places sole responsibility for her death on the father. Sheila guesses that the father of the child is Eric and begs her mother to stop making things worse for herself. Eric returns. He knows that the Inspector has led everyone to the conclusion that he’s the father of the unborn child. He describes how he met Eva at a bar, and drunkenly forced her to have sex. He stole money from Mr B to support Eva.

‘the famous younger generation who know it all.’

‘Come on Sheila, don’t look like that. All over now’

‘The story’s just a lot of moonshine’

As Gerald says – we’ve been had’

‘fire, blood and anguish’

‘We are members of one body’

Eva rejected the stolen money and turned to Sybil’s charity for help. Eric and Birling argue over the money.

Eric and Sheila, clearly troubled, argue that they are still guilty of treating someone badly.

Birling, Sybil and Gerald all start to relax and make light of the whole situation.

Gerald calls the hospital and finds out that no-one has committed suicide.

Gerald returns, having spoken to a police officer, and says there’s no Inspector Goole. Birling confirms this by phoning Col. Roberts.

The Inspector warns that unless everyone learns to look after each other, the lesson will be learned with suffering. He then leaves.

The Inspector reminds the Birlings that we are all responsible for each other.

Eric says Sybil murdered her own grandchild by refusing to give Eva charity.

Doors symbolise the entry and exits into Eva’s life. Sheila’s ring symbolises her growing maturity.

‘you’re not the kind of father a chap could go to when he’s in trouble’

Writing analytical paragraphs

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•

In my opinion, It could be suggested that, The writer’s intention is to… Moreover, I believe… Furthermore, (author/poet name)’s use of the words/sentence/line could imply/indicate/infer/emphasise/reveal… I believe the phrase/sentence/line is giving a sense/conveying the idea/gives the impression that…

Support your idea with evidence (language from the text):AO1 • This can be seen with the phrase/line/sentence • This is shown with the phrase/line/sentence • The author does this with the phrase/line/sentence… • This idea is supported with the phrase/line/sentence • A clear demonstration of this is when the writer uses the line/words/phrase/compound/complex/ simple/ sentence • (insert quotation) supports this idea because…

Analyse your evidence in detail:AO1/2 These words suggest… This phrase/line/sentence highlights the fact… This illustrates my point because… These words exemplify the character's behaviour/thoughts/feelings because… • This behaviour/statement/quotation proves the fact that(re-word point here) because… • This example of personification/ a simile/ a metaphor is effective because it shows the character/ speaker/ narrator to be… • The writer has cleverly used a juxtaposition / an oxymoron/ an alliteration to highlight/demonstrate/ emphasise • • • •

Points in green = higher order writing.

Give an alternative explanation: AO2 • However, the writer/author/(author’s surname) may also be trying to show… • On the other hand, these/this words/ sentence/ line/phrase might also show… • Alternatively, it could be suggested that the character/speaker is illustrating the fact that… • An alternative implication could be… • Conversely, the evidence might also imply… • An alternate point of view could be… • The language used could also be interpreted as meaning/demonstrating/signifying…

Analyse a key word/phrase using technical vocabulary: AO2 • Furthermore, the use of the noun/adjective/verb/ adverb is significant because… • Moreover, the writer uses the noun/verb / adjective/ adverb to imply/highlight/suggest… • The writer’s use of the (insert technique) is significant because… • The writer’s / author’s ideas are further supported by his/her use of (insert technique) because… • The connotations of the noun/adverb/adjective/ verb are …which further supports the writer’s intent because…

Comment on the effect on the reader/audience: AO2 • This would make the reader/audience feel.. • The audience/ reader would react… • The impact on the reader/audience would be significant because… • The author’s / writer’s use of language would force the reader to question… • As a result of these words/ language/ behaviour the reader would be made to feel…because • These words would encourage the reader/ audience to doubt/believe/mistrust/trust… • These words are effective because they make me feel…

Consider contextual factors throughout: what influenced the writer? Why did they write this particular piece? (may not be appropriate in every paragraph). AO3 How do the poems compare? How are they similar/different? AO3

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Year 8 - Knowledge Organiser – Animal Farm Animal Farm is an allegorical novel by George Orwell where animals are in charge rather the humans.

Context

Characters

Orwell wrote the novel as an allegorical tale that links with the history of the Soviet Union. The book was viewed as incredibly controversial and rejected by several publishers before being published.

Old Major: Wise, old pig. Starts the rebellion with his powerful speech about men.

Mr Whymper: Sly solicitor who helps Napoleon.

Mollie: Shallow and childish mare; deserts the farm to continue to lead the life of a horse.

Mr Jones: drunken owner of Animal Farm. Symbolises the control and greed of men.

Old Major represents Karl Marx, Snowball represents Communism, and Napoleon represents Stalin.

Snowball: Hero of the Battle of the Cowshed, expelled by Napoleon and used as a scapegoat.

Napoleon: Controlling dictator. Leads by fear and propaganda.

Orwell is most famous for this novel and 1984, a dystopian book that wrote about an extreme version of the future. Several new words came from Orwell’s work, including cold war, Big Brother, Thought Police, Room 101, memory hole, newspeak, doublethink, and thoughtcrime

Clover: Caring and loyal, has very little control but realises what is happening as the pigs take control.

Pilkington and Frederick: Owners of the neighbouring farms and equally manipulative.

Boxer: Innocent but hard working, very strong and selfless.

Squealer: Napoleon’s mouthpiece, he uses propaganda to control the animals.

5. Mystery, terror and suspense

5. Volatile and threatening weather (symbolism)

Plot 1.

Mr Jones, the owner of Manor Farm falls asleep in a drunken stupor. All the animals of Manor Farm meet in the big barn where Old Major delivers a speech arguing for a rebellion against the men. The Animals sing ‘Beasts of England’, a song from Old Major’s dream.

2. Old Major dies and the pigs adapt his speech, forming the principles of Animalism. The pigs plan the rebellion even though some animals (like Mollie) are concerned. Napoleon steals milk. 3. The animals complete the harvest faster than ever. Napoleon teaches the sheep ‘four legs good two legs bad’ and takes the dogs for ‘education’. Cow’s milk and windfall apples are given to pigs, Squealer convinces the animals that this is a good idea.

7. The animals struggle against starvation. After learning that they must sacrifice their eggs, the hens stage a demonstration. Napoleon denies their rations and 9 hens starve as a result. In spring, Napoleon calls a meeting and several ‘traitors’ are executed. Beasts of England is outlawed. 8. The next year brings more work and less food, despite Squealer’s figures and statistics to the contrary. More executions occur. Napoleon sells a pile of timber to Frederick, who tricks Napoleon with forged banknotes.. Frederick, with 14 other men, attack the farm and blow up the windmill, which rallies the animals to fight back. Several animals die, Boxer is injured but Squealer convinces the animals of their victory. 9. 31 pigs are born, and Napoleon orders for a schoolhouse to be built for their education. Rations are yet again reduced. Boxer is injured working and Napoleon sends for a vet. A van arrives, Boxer is taken away but Benjamin reads the its side and learns that Boxer is being slaughtered.. Boxer is never seen again.

4. News of the rebellion spreads, In October, a group of men try to seize the farm. Led by Snowball’s brilliance, the animals fight off the humans which is named ‘The Battle of the Cowshed’. 5. Mollie deserts the farm. The pigs grow in influence, suggesting ideas on which the animals must vote. When the Windmill is put to vote, Snowball is expelled from animal farm. Later, Napoleon announces that the Windmill will be built.

10. Years pass. No animal has ever retired. The farm has grown in size and population. Two windmills are complete. Clover notices the pigs walk on two legs. The commandments are replaced with “All animals are equal but some are more equal than others.”. The pigs and humans play cards. A quarrel breaks out. Onlooking animals can not tell the difference between pigs and humans.

6. Napoleon begins trading with humans and hires Mr Whymper. Jones gives up trying to reclaim the farm. The animals begin sleeping with beds, and Muriel and Clover notice a change in the commandments ‘with sheets’. Squealer persuades the animals that this is acceptable. In November, a storm topples the half complete windmill. Napoleon blames this on Snowball.

Themes •

Leadership, Control, Lies and Propoganda, Violence, Pride and Belonging, Dreams and Hopes

Key vocabulary Deceit

Influence

Scapegoat

Dictatorship

Manipulated

Corruption

Equality

Commandment

Tyranny

Allegory

Satire

Comrade

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LINKS BETWEEN THE POEMS

ANTHOLOGY CORE KNOWLEDGE

Terminology

Definition

Imagery

visually descriptive or figurative language

Simile

comparison between two things using like or as

Metaphor

a comparison as if a thing is something else

Onomatopoeia

words that sound like their meaning

Symbolism

the use of symbols to represent ideas or qualities

Noun

the name of something

Adjective

a word used to describe

Verb

a word used to describe an action

Adverb

often ly words which describes how things are done

Pronoun

Pronouns are used instead of names

Connotations

implied or suggested meanings of words or phrases

Juxtaposition

placing contrasting ideas close together in a text

Oxymoron

using two terms together, that normally contradict each other

Repetition

when words or phrases are used more than once in texts

Enjambment

incomplete sentences at the end of lines in poetry, where the line runs into the next line

Caesura

a break in the middle of a line of poem using punctuation (. , : ; )

End-stopping

punctuation at the end of a line of poetry

Rhythm

A recurring beat in the poem

Stanzas

the way verses are structured

Assonance Consonance

Analysis Points: Link to the question Link to the terminology (Lang/Structure – evaluating choice) Short Quote(s) Explain meaning and effect – both obvious and hidden (explicit and implicit) Zoom in on words/explore connotations and effect Suggest what other readers might think/feel (offering an alternative opinion) Link to the writer’s intentions (step out from the close analysis to give an overview of meaning) Explore a linking quote/supporting idea COMPARISON SKILLS: Link to the question for both texts stating the similarity or difference, Give a quote which links to your idea from TEXT 1 Explain briefly what the quote means Use comparative connectives in your answer to then explain a quote from TEXT 2 and HOW the quotes are different or the same and what they make you think EXAM REQUIREMENTS SINGLE POEM ESSAY Intro – link to question. Explain where meaning of the poem briefly. Can say time period/influences (context) Throughout the essay – Choose relevant quotes and analyse the language, structure and effect of these quotes. Refer to question and explain the meaning. Also, link to the context too. Conclude – Short summary of points COMPARISON POEM ESSAY Intro – link to question. Explain where meaning of the poem briefly. Can say time period/influences (context, Throughout the essay– Start with the 2nd poem, choose relevant quotes/moments from the poem and analyse the language, structure and effect of these quotes and how they link to examples and analysis from poem 1. You must use connectives of comparison. Refer to the question and explain the meaning. Also, link to the context too for both poems, Conclude – Short summary of points Comparison Connectives

Tentative Phrases

Similarly

Differently

Could

Maybe

In contrast/contrastingly

On the other hand

Might

Possibly

repetition of vowel sounds. Repetition of consonant sounds.

However

Both

May

Perhaps

Also

As well as

CONFLICT – Hawk Roosting, Mametz Wood, Dulce et Decorum Estm Ozymandias, The Manhunt, The Soldier, London, A Wife in London NATURE – Afternoons, Death of a Naturalist, To Autumn, Hawk Roosting, Excerpt from the Prelude LOVE – Cozy Apologia, Valentine, Afternoons, She Walks in Beauty, A Wife in London, As imperceptibly as Grief, Sonnet 43 PLACE- Living Space, London, Ozymandias, Afternoons, As imperceptibly as grief SOCIAL COMMENTARY – Dulce et Decorum Est, A Wife in London, London, Ozymandias, To Autumn, Hawk Roosting, Mametz Wood, Valentine,

Context Romantic poets were influenced by nature and beauty transcending reality (R – next to their poems) Contemporary poets are interested in everyday issues and concerns and use their poems to comment on everyday issues and ideas that they want to voice (C – next to their poems) War poets wrote about issues relating to war/their thoughts and feelings on this topic. (W next to their poems)

The Manhunt: Eddie Beddoes after his injuries in the Bosnian Peacekeeping mission.

“frozen river which ran through his face,”, Metaphor – links to tears and his physical appearance after the bullet scarred his face, “his grazed heart” Noun Phrase – implies his heart is damaged, physically from the bullet sliding past it but emotionally from the fear he felt at nearly dying , “foetus of metal beneath his chest”, Metaphor – the bullet is stuck inside him and may also link to his emotional state where he feels like a new person as a result of the injuries he has

Sonnet 43: Barrett-Browning expressing her love in many ways.

“How do I love thee?”, Rhetorical question – Opening the poem with an obvious indication of love,“depth and breadth and height”, Triplets – showing how much love and how vast it is that it can’t be contained, “I love thee”, Repetition x 6 – exploring again the idea that love is overwhelming and powerful

London: Bllake’s cynical interpretation of “mark in every face I meet/ Marks of weakness, marks of woe.”, Triplets – what the poet notices in the faces of all the strangers he is around in town, “In every”, Repetition – to show how much misery religious and societal expectations. and despair he notices in others. It could be a social commentary on other people, “Man…Infants cry…voice,”, Lexical set – linked to people and Blake’s observations of people and their links to religion, “Soldiers sigh/Runs in blood down Palace walls.” The Soldier: An idealistic representation of “of a foreign field” , Alliteration – the land which the soldiers will die in and be buried in when they fight but the insinuation is that they should be glad to die there, “for ever England”, Metaphor – the horrors of war written before the true suggesting death doesn’t take the soldiers delight for their homeland away; when they die their death will leave a little piece of England in the foreign soil, “England bore, shaped, made aware,/Gave, events became apparent. once, her flowers to love, her ways to roam,”, Listing – reinforcing the pride and patriotism every solider should have for their country and reinforcing the idea that death is brave and honourable She Walks in Beauty: Byron captivated by “She walks in beauty,”, Second person – an exaggerated representation of the way that the persona in the poem feels about the women he is talking about, “cloudless climes and starry skies;”, Imagery – female beauty explores his feelings. showing how he compares her to heavenly imagery and how her beauty transcends the natural worlds beauty, “So soft, so calm, yet eloquent,”, Triplets – exploring attributes that he feels she has Living Space: Outlook on how difficult it is “That /is the problem.”, Enjambment – expressing that the physical appearance of the area is the main problem when the problem is societal as well as space, “Beams/balance crookedly”, Adverb – to live in shanty town conditions with no suggesting that everything is wrong and the physical space is also expressing this too., “bright, thin walls of faith.”, Metaphor – the idea that religion can give hope for a better life linked to the way the space, clean water people have to live in shacks which are not fit to be living spaces but poverty gives them no choice, while religion can give them hope. As Imperceptibly as grief: She would rather be elsewhere and is consumed by her grief.

“As imperceptibly as Grief”, Metaphor – you can’t touch or see or truly feel grief it is an unknown until you have experienced it , “To seem like Perfidy —“, Tentative – infers that it looks like deceitfulness or an untrustworthy idea, “The Dusk drew earlier in —“, Imagery – creates a sense of pathetic fallacy as if the evening is coming in quickly and making her feel more sad, “Our Summer made her light escape”, Metaphor – to suggest that her happiness is what is escaping (Dickenson’s

Cozy Apologia: Depicts a contented relationship background of a hurricane.

“I could pick anything and think of you—“, End-stopping – autobiographical with reference to her husband , with furrowed brow/ And chain mail glinting, to set me free:”, Rule of three – dreamlike and fantastical tone , “Oddly male: Big Bad Floyd,”, Caesura – reinforcing the maleness and strength of the hurricane which is coming up the coast. It feels unpredictable.

Valentine: Duffy gives a realistic interpretation of love using an extended metaphor.

“I give you an onion.”, Statement - showing that love can be reduced to mundane everyday items not just the stereotypical flowers and chocolates. Love is real and causes more than just happy emotions. , “Lethal.”, Single sentence line – reinforcing the pain that can be caused unknowingly in a relationship, “Its scent will cling to your fingers,/cling to your knife.”, Repetition – like the scent of the onion once you’ve had love it sticks with you.

A Wife In London: The irony of receiving a “tawny vapour”, Metaphor – referencing the fog which is enveloping the city and perhaps using pathetic fallacy to enforce how the wife feels emotionally when she hears the news of her husband’s telegram of death one day and next death., “Flashed news”, Noun phrase – she receives news that her husband has died, (Lexical set relating to sounds) , “highest feather - ”, Metaphor – joyful tone of the letter sent from the husband telling receiving a love letter from Boer War. her of his love and his imminent return home to London. Death of a Naturalist: Describes the joy of “gargled delicately,”, Verb and adverb – exploring how nature was a thing of wonder and discovery., “frogspawn that grew like clotted water”, Simile – excitement of watching the tadpoles grow and discovering nature in childhood & later expand and come, to life, “loose necks pulsed like sails”, Simile – repulsion at the appearance of the toads and frogs which have now grown up similar to the now grown up man, who once revelled in the fear of nature joy of discovering nature but is threatened by the sight as a man. Hawk Roosting: Hawks viewpoint is given “rehearse perfect kills and eat.”, Verb and adjective – chosen to perhaps imply that this is what the Hawk is made for. He deserves to kill and eat whatever he chooses., “earth’s face upward for my inspection”, Metaphor – implying that the Hawk believes that the earth is there for him to observe and watch and that he is stronger than nature, “has permitted no change”, Imperative – nothing has in the poem to show how dominant in nature he is. changed because the hawk arrogantly believes he has not allowed it To Autumn: Keats explores how Autumn is “mists of mellow fruitfulness!”, Alliteration – joyful exploration of the start of the autumn season and the end of summer which has allowed the fruits to be ready to, “swell the gourd”, Imagery – the sun a beautiful season; metaphorically suggest has given an abundance of harvest for people to gather and collect to keep them going over the winter months. , “half reaped furrow sound asleep,” , Adjectives – suggesting there is time to sleep and rest seasons are linked to life /death. now that the harvest has nearly been taken in. It gives a very calm tone to the poem. Afternoons : A poem reflecting on the subject of marriage.

“Summer is fading:”, End-stopping – suggesting that a time of freedom is coming to an end., Lettered/Our Wedding, lying”, Italics – pushed aside and forgotten, what once was a joyful and exciting phase has been discarded and overtaken by mundanity., “Their beauty has thickened.”, Metaphor – suggesting that the young mothers have lost freedom they once have and that they are now more cynical.

Dulce et Decorum Est: The horror and lies “Bent double, like old beggars under sacks,/Knock-kneed, coughing like hags,”, Similes – showing how young men were literally brought to their knees and made ill by the horrors of war and what they told about war with an honest and brutal had to do. Their health both physically and mentally was affected., “Of gas shells dropping softly behind.”, Sibilance – they are so used to the loud, noises of war that they almost can’t hear the gas being depiction of life in the trenches. dropped., “like a devil’s sick of sin;”, Symbolism – even the devil has had enough of the pain and suffering in the name of a greater cause. Ozymandias: Reflects on the power of a ruler who had a statue erected for him that has now been destroyed.

“I met a traveller from an antique land, First person – old and suggestion of the traveller as a wise man who has a story to tell., “Two vast and trunkless legs of stone”, Adjectives – the statue is ruined and lies forgotten in the desert , “The lone and level sands stretch far away.”, Sibilance – loneliness and forgotten nature of the statue in the middle of the desert reflects that no matter how powerful you were in life you won’t be remembered favourably afterwards if you are morally corrupt.

Mametz Wood: The waste of life to a “afterwards the farmers found them –“ End-stopping – farmers were ploughing up pieces of the soldiers for years and years afterwards., “wasted young,”, Adjective – showing what a terrible thing it was Welsh regiment sent to death at Mametz for the Welsh soldiers and also that it could have been avoidable if the sergeants hadn’t been so blasé about sending them into the woods., slipped from their absent tongues.”, End-stopping – reinforcing Wood and never given credit that these men had no voice at the time they just had to follow orders and also shows how they lost their physical tongues when they died too. Excerpt from the Prelude: Explores awe of “twilight blaz’d,”, Light imagery – showing that it was early evening and suggesting that it was a beautiful time of day., “It was a time of rapture: clear and loud”, Emotive language – showing how happy nature and younger self in this he was at this point., “hiss’d along the polish’d ice,”Verb – showing how fast he and his friends were skating and how free they were as a result., “The orange sky of evening died away.”, Imagery – linked autobiographical exztract to the beauty of the sky as evening faded.

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ANTHOLOGY CORE KNOWLEDGE

Terminology

Definition

Imagery

visually descriptive or figurative language

Simile

comparison between two things using like or as

Metaphor

a comparison as if a thing is something else

Onomatopoeia

words that sound like their meaning

Symbolism

the use of symbols to represent ideas or qualities

Noun

the name of something

Personification

Giving human qualities to inanimate objects

Adjective

a word used to describe

Verb

a word used to describe an action

Adverb

often ly words which describes how things are done

Pronoun

Pronouns are used instead of names

Connotations

implied or suggested meanings of words or phrases

Juxtaposition

placing contrasting ideas close together in a text

Oxymoron

using two terms together, that normally contradict each other

Repetition

when words or phrases are used more than once in texts

Enjambment

incomplete sentences at the end of lines in poetry, where the line runs into the next line

Caesura

a break in the middle of a line of poem using punctuation (. , : ; )

End-stopping

punctuation at the end of a line of poetry

Rhythm

A recurring beat in the poem

Stanzas

the way verses are structured

Assonance

repetition of vowel sounds.

Consonance

Repetition of consonant sounds.

The Romantics believed in the self and exploring intense emotional feelings. Also fascinated by beauty, nature and truth, and the way moments can go beyond normal human experience • • • • •

Byron Wordsworth Shelley Keats Blake

Inspired by The Romantics • •

Barrett-Browning Dickinson

EXAM REQUIREMENTS SINGLE POEM ESSAY – 20 mins (including planning time) Intro – link to question. Explain the overall meaning of the poem briefly. Mention time period/context. Throughout the essay – Choose relevant quotes and analyse the language, structure and effect of these quotes. Refer to the question and link to the context regularly. COMPARISON POEM ESSAY – 40 mins (including planning time) Intro – link to question. Explain the overall meaning of the poem briefly. Mention time period/context. Throughout the essay– Start with the 2nd poem, choose relevant quotes from the poem and analyse the language, structure and effect of these quotes and then how they link to examples and analysis from poem 1. You must use connectives of comparison. Refer to the question and link to the context regularly. Comparison Connectives

Tentative Phrases

Similarly

In contrast /Contrastingly

Could

Maybe

In the same way

On the other hand

Might

Possibly

Also

However

May

Perhaps

LINKS BETWEEN THE POEMS WAR/CONFLICT -Mametz Wood, Dulce et Decorum Est, The Manhunt, The Soldier, A Wife in London NATURE –Death of a Naturalist, To Autumn, Hawk Roosting, Excerpt from the Prelude LOVE – Cozy Apologia, Valentine, Afternoons, She Walks in Beauty, Sonnet 43 PLACE - Living Space, London, Ozymandias, Afternoons, As imperceptibly as grief

The Manhunt – by Simon Armitage (2007)

Sonnet 43 – by Elizabeth Barrett-Browning (1850)

London – by William Blake (1794)

The Soldier – by Rupert Brooke (1914)

She walks in Beauty By Lord Byron(1813)

Living Space – by Imtiaz Dharker (1989)

A soldier with physical and emotional pain. His wife supports him towards recovery

A woman expressing her intense love in many ways.

Criticising widespread suffering of the poor in London

An idealistic representation of fighting and dying for one’s country, written before the true horrors became apparent.

The poet is captivated by female beauty –both external and internal, and explores his feelings

Poem concerned and awe-struck by dangerous living conditions of Mumbai slums where there is no space, or clean water.

Eddie Beddoes –peacekeeper in Bosnia, shot, PTSD. Rebuilding relationship with wife.

Influenced by Romantic Poets. Wrote 44 sonnets to husband before marriage. Religious upbringing that her love transcends.

Terrible age of poverty, and child labour/prostitution. Government and Church are blamed. Blake lived in London in Georgian Era – saw it all.

Written before the war started. Propaganda – originally entitled ‘The recruit’ 2 million men ended up dying in WW1

Written about Byron’s cousin’s wife who wore a black dress at a funeral. One of the Romantics – believed in passion/beauty Wild, many affairs, womaniser.

Poet is a film maker, dividing time between London and India, and wanting to raise awareness of social issues like terrible conditions within Mumbai slums.

‘Frozen river which ran through

‘How do I love thee? Let me count the ways’ ‘…to the depth, breadth and height my soul can reach‘ ‘…with my childhood’s faith’ ‘with the breath, smiles, tears of my life’ ‘…better after death’

‘Mark in every face I meet/Marks of weakness, marks of woe’ ‘In every…’ ‘Every black’ning church appals’ ‘Soldier’s sigh /runs in blood down palace walls’ ‘The youthful harlot’s curse’ ‘The marriage hearse’

‘There’s some corner of a foreign field that is

‘She walks in beauty like the night of cloudless climes and starry skies’ ‘All that’s best of dark and bright meet in her eyes’ ‘One shade the more, one ray the less had half impaired’ ‘So soft, so calm, yet eloquent’ ‘A heart whose love is innocent’

‘There are just not enough straight lines. That/is the problem’ ‘Nails clutch at open seams’ ‘The whole structure leans dangerously / towards the miraculous’ ‘The dark edge of a slanted universe’ ‘The bright, thin walls of faith’

his face’ ‘Handle and hold’ ‘His grazed heart’ ‘Foetus of metal beneath his chest’ ‘Unexploded mine buried deep in his mind’

forever England’ ‘A dust whom England bore, shaped, made aware’ ‘All evil shed away’ ‘Gives somewhere back the thoughts by England given’ ‘At peace under and English heaven’

As imperceptibly as grief – by Emily Dickinson (1890)

Cozy Apologia – by Rita Dove (1999)

Valentine –by Carol Ann Duffy (1993)

A Wife in London – by Thomas Hardy (1899)

Death of a Naturalist – by Seamus Heaney ( 1966)

Hawk Roosting – by Ted Hughes (1960)

The poet is consumed by grief. This is symbolised by the summer passing too quickly, and the darker side of nature approaching.

A contented romantic relationship, set against the backdrop of a hurricane

A realistic interpretation of love using the extended metaphor of an onion

A wife waits alone in the gloomy London fog, She receives news of her husband’s death, by telegram, then the next day ironically recieves a love letter from him.

Describes the joy of discovering nature in childhood, then later finding it different and frightening.

Hawk’s viewpoint is used to show its dominance in nature. It is in awe of its creation, kills brutally and indiscriminately. It has always been this way in nature, and the Hawk doesn’t want it to change.

A recluse. Written about departure/death of a friend who had been staying. 5 school friends died of T.B. Grew up in beautiful New England countryside Inspired by Romantics

Poet married to Fred Viebahn –a tribute to him. Set against imminent arrival of Hurricane which led to evacuation of 2.6 million people

Feminist,Lesbian –seeking to challenge traditional views of love in society. Dad was Labour party candidate. Criticising Thatcherite materialistic society and the fake, cliched Valentine’s day institution

About the Boer War, and a soldier’s death. Communication channels bad in 19th century. Poet separated from wife. Wife died. He still loved her though and read her letters after her death – links to vocie from beyond the grave idea.

Reflects poet’s interest in nature. Reflects loss of childhood innocence. Age 12 – his brother died. References fear of his maturing sexuality, as he started a Catholic boarding school, where sinful deeds were punished, and attitudes to sex were very strict

The poet was fascinated by animals – a farmer for a short while. Also he studied Anthropology –the behaviour of humans trhoughout history. Hawk was a Nazi symbol. Poet using hawk as a metaphor for the way leaders like Hitler abuse power.

‘As imperceptibly as grief’ ‘A quietness distilled as twilight long begun’ ‘As guest that would be gone’ ‘Without a wing or service of a keel’ ‘Our summer made her light escape’

‘’I could choose any hero, any cause, any age, and sure as shooting arrows to the heart…there you’ll be’ ‘One eye smiling, the other firm upon the enemy’ ‘Oddly male: Big Bad Floyd’ ‘When has the ordinary ever been news?’ ‘To keep me from melancholy, I fill this stolen time with you’

‘Not a red rose or a satin heart. I give you an

‘She sits in the tawny vapour’ ‘A messenger’s knock cracks smartly’ ‘Flashed news’ ‘Shaped so shortly – He –has fallen-in the far Soth Land.’ ‘His hand, whom the worm now knows’ ‘Penned in highest feather – page full of his hoped return’

‘Gargled delicately’ ‘The thick warm slobber of frogspawn grew like clotted water’ ‘Miss Walls would tell us how the daddy frog was called a bullfrog’ ‘A coarse croaking I had not heard before’ ‘The great slime kings were gathered there for vengeance’

‘Rehearse perfect kills and eat.’ ‘Earth’s face upward for my inspection’ ‘I hold creation in my foot’ ‘My manners are tearing off heads’ ‘No arguments assert my right’ ‘Nothing has changed since I began. My eye has permitted no change.’

onion’ ‘It will blind you with tears’ ‘Its fierce kiss will stay on your lips – possessive and faithful’ ‘Its platinum loops shrink to a wedding ring’ ‘Its scent will cling to your fingers, cling to your knife’

To Autumn – by John Keats (1819)

Afternoons – by Philip Larkin (1959)

Dulce et Decorum est –by Wilfred Owen (1917)

Ozymandias – by Percy Shelley (1818)

Mametz Wood – by Owen Sheers (2005)

Excerpt from the Prelude – by William Wordsworth (1798)

The poet explores how Autumn is a beautiful season, and metaphorically suggests the seasons are linked to life and death.

The poet reflects on marital relationships, beauty and growing older.

Considers the horror and lies told about the glory of war and dying for one’s country, with an account of a gas attack.

Considers the faded power of a ruler who had a statue erected for him, that now lies in ruins in the desert.

Explores the waste of life within a Welsh regiment sent to fight and die at Mametz Wood and never given credit. As the farmers find their bodies, their voices are heard again, and we remember them.

Poet explores awe of nature and his childhood, ice-skating with friends on the frozen lakes.

Keats was dying of T.B. and had seen many of his friends and family die. One of the Romantics – believer in beauty and truth. Realised accepting our own mortality doesn’t mean we can’t see the beauty in things.

Poet never married /had family. Was cynical towards family life, saying it ‘diluted you as a person’ Terrified by the passing of time and how life races away.

Latin – ‘It is sweet and fitting to die for one’s country’ –Propaganda message of the time. Owen experienced WW1 first hand, and believed this to be a lie. Use of mustard gas was a chemical first used by German army in 1917 –led to agonising death.

Poet inspired to write poem when British Museum got hold of a large fragment of the Egyptian Pharoah Ramesses II. Shelley’s wife, Mary Shelley – fasinated by Science of the time – obsessed with living on after death. Hated Royalty, and written as warning to arrogant rulers. Nature would always be more powerful.

Part of Battle of the Somme – bloodiest battle of WW1. Mametz Wood – much bigger undertaking than Generals thought – 600 died, 4000 injured. Bravery not acknowledged at the time. Welsh poet fascinated by history/identity of the Welsh.

Poet grew up in the poem’s setting of the beautiful Lake District. One of the Romantics – believed in beauty and nature, and moments that transcend reality. Mother died at 8, Father died at 13. Poem depicts happier time before these events.

‘Season of mists and mellow fruitfulness’ ‘Swell the gourd’ ‘Sitting careless on a granary floor, thy hair soft lifted by the winnowing wind’ ‘Where are the songs of Spring?’ ‘Thou hast thy beauty too’

‘Summer is fading’ ‘Setting free their children’ ‘The albums lettered Our Wedding /lying’ ‘Their beauty has thickened’ ‘Something is pushing them to the side of their own lives’

‘Like old beggars under sacks, coughing like hags’ ‘Gas! Gas, quick boys!’ ‘He plunges at me, guttering, choking, drowning’ ‘His hanging face, like a devil’s sick of sin’ ‘My friend, you would not tell with such high zest’

‘Two vast and trunkless legs of stone’ ‘The sneer of cold command tell that its sculptor well those passions read’ ‘The hand that mocked them, and the heart that fed’ ‘My name is Ozymandias, king of kings, Look on my works, ye Mighty and despair!’ ‘The lone and level sands stretch far away’

‘’For years afterwards, the farmers found them –the wasted young’ ‘The broken bird’s egg of a skull’ ‘Twenty men buried in one long grave’ ‘Their skeletons paused mid dance macabre’ ‘absent tongues’

‘The twilight blaz’d’ ‘I heeded not the summons –happy time’ ‘I wheel’d about, proud and exulting, like an untired horse’ ‘An alien sound of melancholy’ ‘The orange sky of evening died away’

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WAR POETRY ANTHOLOGY CORE KNOWLEDGE

Terminology

Definition

Imagery

visually descriptive or figurative language

Simile

comparison between two things using like or as

Metaphor

a comparison as if a thing is something else

Onomatopoeia

words that sound like their meaning

Symbolism

the use of symbols to represent ideas or qualities

Noun

the name of something

Personification

Giving human qualities to inanimate objects

Adjective

a word used to describe

Verb

a word used to describe an action

Adverb

often ly words which describes how things are done

Juxtaposition

placing contrasting ideas close together in a text

Repetition

when words or phrases are used more than once in texts

Enjambment

incomplete sentences at the end of lines in poetry, where the line runs into the next line

Caesura

a break in the middle of a line of poem using punctuation (. , : ; )

Rhythm

A recurring beat in the poem

Stanzas

the way verses are structured

Comparison Connectives Similarly

Tentative Phrases

In contrast /Contrastingly

Could

Maybe

In the same way

On the other hand

Might

Possibly

Also

However

May

Perhaps

Mametz Wood – by Owen Sheers (2005)

Considers the horror and lies told about the glory of war and dying for one’s country, with an account of a gas attack.

Explores the waste of life within a Welsh regiment sent to fight and die at Mametz Wood and never given credit. As the farmers find their bodies, their voices are heard again, and we remember them.

Latin – ‘It is sweet and fitting to die for one’s country’ – Propaganda message of the time. Owen experienced WW1 first hand, and believed this to be a lie. Use of mustard gas was a chemical first used by German army in 1917 –led to agonising death.

A Wife in London – by Thomas Hardy (1899)

The Manhunt – by Simon Armitage (2007)

The Soldier – by Rupert Brooke (1914)

A soldier with physical and emotional pain. His wife supports him towards recovery

An idealistic representation of fighting and dying for one’s country, written before the true horrors became apparent.

A wife waits alone in the gloomy London fog, She receives news of her husband’s death, by telegram, then the next day ironically receives a love letter from him.

Eddie Beddoes –peacekeeper in Bosnia, shot, PTSD. Rebuilding relationship with wife.

Written before the war started. Propaganda – originally entitled ‘The recruit’ 2 million men ended up dying in WW1

About the Boer War, and a soldier’s death. Communication channels bad in 19th century. Poet separated from wife. Wife died. He still loved her though & read her letters after her death – links to voice from beyond the grave

‘Frozen river which ran through his face’ ‘Handle and hold’ ‘His grazed heart’ ‘Foetus of metal beneath his chest’ ‘Unexploded mine buried deep in his mind’

‘There’s some corner of a foreign field that is forever England’ ‘A dust whom England bore, shaped, made aware’ ‘All evil shed away’ ‘Gives somewhere back the thoughts by England given’ ‘At peace under and English heaven’

‘She sits in the tawny vapour’ ‘A messenger’s knock cracks smartly’ ‘Flashed news’ ‘Shaped so shortly – He –has fallen-in the far South Land.’ ‘His hand, whom the worm now knows’ ‘Penned in highest feather – page full of his hoped return’

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Relevant History

DYSTOPIAN FICTION

Definition / Etymology: The OED defines a dystopia as “an imaginary place or condition in which everything is as bad as possible” and credits its first usage to Glenn Negley and John Max Patrick who described Joseph Hall’s Mundus Alter et Idem as depicting the “opposite of eutopia, the ideal society: it is a dystopia, if it is permissible to coin a word” in The Quest for Utopia, 1952.

Key Texts Gulliver’s Travels, Jonathan Swift. 1726. The Time Machine; The Sleeper Awakes, H.G. Wells. 1895; 1910. The Iron Heel, Jack London. 1908. We, Yvgeny Zamyatin. 1921. Brave New World, Aldous Huxley. 1932. 1984, George Orwell. 1949. A Handmaid’s Tale, Margaret Attwood. 1985. The Hunger Games, Susan Collins. 2008.

“The dystopian writer presents the nightmare future as a possible destination of present society, as if dystopia were no more than a logical conclusion derived from the premises of the existing order”.

c1726

A time of huge imperial expansion where British ships sailed all over the world colonising states and nations as Great Britain.

Late 19th c

Science took huge leaps forward in this period. Einstein’s theory of relativity, for example, was described in a paper published in 1905. The period was also characterised by an increasing nationalism in European and American politics.

Chris Ferns, Narrating Utopias.

“The moral to be drawn from this dangerous nightmare situation is a simple one: Don’t let it happen. It depends on you”.

Early 20th c

George Orwell, “Statement on Nineteen Eighty-Four”.

“Oh, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in’t!”

Russia between William Shakespeare, The Tempest. the wars

“Kindness and good nature unite men more effectually and with greater strength than any agreements whatsoever, since thereby the engagements of men's hearts become stronger than the bond and obligation of words.”

The Russian Revolution began in 1917. The communist, Bolshevik government, led by Lenin, ruled until 1924. Lenin was succeeded by Stalin. The period was characterised by an increasing mistrust of diversity, intrusive surveillance and genocide.

Early-Mid 20th c

Huge technical advancements led people to believe that there would be no need for human labour by the end of the century.

Totalitarianism: a political ideology in which all power is placed in the hands of a small minority or an individual.

1939-1945

World War II. The Tehran Conference, 1943, implied a splitting of the world into 3 ‘blocs’.

Utopia: Siir Thomas More, who coined the term, meant it as a pun on both the Greek words ‘no place’ – ‘outopos’ – and ‘good place’ – ‘eutopos’.

2008

The Global Financial Crash left many people, especially the young, feeling disenfranchised.

Thomas More, Utopia.

Relevant Terminology

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Feminism

Key Thinkers (dates, significant texts) Mary Wollstencraft (1759-1797): A Vindication of the Rights of Women.

Elizabeth Cady Stanton (1815-1902): Declaration of Sentiment. Virginia Woolf (1882-1941): A Room of One’s Own (1929). Simone de Beauvoir (1908-1986): The Second Sex (1970), A Very Easy Death. Germaine Greer (1939-): The Female Eunuch (1970). Judith Butler (1956-): Gender Trouble: Feminism and the Subversion of Identity (1990), Bodies that Matter: On the discursive limits of sex (1993). Cheryl Sandberg (1969-): Lean In: women, work and the will to lead (2013). Malala Yousafzai (1997-): I Am Malala: the story of the girl who stood up for education and was shot by the Taliban (2013).

militancy is over. Freedom is fragile and must be protected. To 1920 Women given equal suffrage with men sacrifice it even as a ‘temporary measure’ is to betray it”. under the 19th Amendment to the US “It takes a great deal of courage and independence to decide your Constitution. own image instead of the one society awards, but it gets easier as 1928 Women over 21 given the right to vote – you go along”. equal with men (UK). Germaine Greer, The Female Eunuch. 1960 Contraceptive pill legalised (USA). “Representation of the world, like the world itself, is the work of 1967 The Abortion Act is passed (UK). men; they describe it from their point of view, which they confuse 1973 Rowe vs. Wade sets precedent for with absolute truth”. legalisation of Abortion in USA. “All oppression creates a state of war. And this is no exception”. 1974 Family Planning Clinics allowed to S. de Beauvoir, The Second Sex. prescribe single women with pill (UK). 1975 Equal Pay Act passed (UK). 1979 Margaret Thatcher elected Prime Key Concepts and Terminology Minister of the United Kingdom. Subjectivity – an individual’s right to experience and to author his or her own world in whichever way he or she chooses.

2nd Wave

John Stuart Mill (1806-1873): On Liberty, The Subjection of Women.

“I do not wish them [women] to have power over men; but over 1872 Susan B. Anthony arrested for trying to themselves.” vote (USA). M. Wollstonecraft, A Vindication of the Rights of Woman. 1918 Women over 30 are given the right to vote (UK). The consequences of militancy do not disappear when the need for

1st Wave

Feminism: a political discourse and movement aimed at transformation away from patriarchy and towards a society free from gender oppression. It involves various movements, theories, and philosophies, all concerned with issues of oppression and privilege based on gender.

Key Dates

Objectification – the process through which in an individual is denied his or her right to subjectivity and is instead spoken for. Patriarchy – a society or social system that is controlled by men or in which men have power. Virgin-whore – a dichotomous reading of history whereby descriptions of important females, or female characters, can be categorised as either virgin-like or prostitute-like. Queer theory – challenges gender-roles and the expectations / stereotypes that go with them. Gender – according to Judith Butler, “gender is performance”. She means that there is nothing intrinsically linking sex to behaviour; rather, extrinsic, social factors influence the way we act as men or women. First-wave feminism – the period of feminist activity and thought that occurred in mid-19th-mid-20th century throughout the Western world. It largely focused on legal issues – primarily the issue of universal suffrage. Second-wave – the period of feminist activity and thought that first began in the USA in the 1960s. This came largely from Universities and broadened the debate to sexuality, family, the workplace and reproductive rights. Third-wave – 1990s-present. Expands feminism to the idea that women are of many ‘colours, ethnicities, nationalities, religions and cultural backgrounds’.

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Y10 FICTION READING C1 CORE KNOWLEDGE

Vocabulary for question types Impressions

A1 - Comprehension: Ability to select short, phrases or words that give exact responses to the question. Bullet point style answers, which are concise and to the point. Analysis Points: A2 & A3 & A4 - Link to the question Link to the terminology (Lang/Structure – evaluating choice) Short Quote(s) Explain meaning and effect – both obvious and hidden (explicit and implicit) Zoom in on words/explore connotations and effect Suggest what other readers might think/feel (offering an alternative opinion) Link to the writer’s intentions (step out from the close analysis to give an overview of meaning) Explore a linking quote/supporting idea A5 - Evaluation Points: Link to the question Give a quote which links to your idea Explain briefly what the quote means Explain your own opinion in relation to the question OR Explain what other readers suggest or predict what other readers might contradict your opinion or point with.

Definition an idea or opinion of what something or someone is like:

Present

Exploring how the writer shows an idea

Agree

To have the same opinion

Argument

a reason or set of reasons given in support of an idea

Writer/Author

The person who wrote the extract

List

To create a separated series of points

Tension

state of mental or emotional strain or suspense in the story

Drama

an event or situation, especially an unexpected one, in which there is worry or excitement and usually a lot of action:

SKILLS

Exam Question Requirements Question A1 A2

Example of question type List five things you learn…

A1 A2

How does the author present… OR, How does the writer show…

What impressions do you get… Or, How does the writer show the reader….

How is tension and drama created… OR, What impressions do you get of…

“Statement” How far do you agree with this OR. Evaluate the way…

One question with five points • Selecting evidence or own words, Bullet point list, No analysis One Language Analysis question • Link to question, Link to Terminology – language, Quotation – 4 – 5, Explore hidden & obvious meaning & Effect, Link to writer’s intentions One Language Analysis question • Link to question, Link to Terminology – language , Quotation – 7 – 8, Explore hidden & obvious meaning & Effect, Link to writer’s intentions One Language/Structure Analysis question • Link to question, Link to Terminology – language and structure/tension/drama, Quotations – 7 – 8, Explore hidden & obvious meaning & Effect, Link to writers’ intentions One persuasive evaluation question • Link to question, Give own opinion, Quotations – 7 – 8, Evaluate the writers’ viewpoint and own response to this

Emotions

Synonyms to describe this feeling or emotion

Anger

Irritated, Annoyed, Rage, Hostility, Agitation, Aggravated, Contempt

Fear

Horror, Rage, Mortification, inferiority, Hysterical, Panic, Insecurity

Love

Tenderness, Desire, Longing, Affection, Caring, Passion, Compassion

Joy

Elated, Enthusiastic, Eager, Hopeful, Enchanted, Rapturous, Delighted

Surprise

Confusion, Overcome, Stimulated, Astounded, Speechless, Awe-struck, Dismayed

implied or suggested meanings of words or phrases

Sadness

Disappointed, Suffering, Despair, Dismayed, Hurt, Regretful, Isolated

Language & Structure Terminology

Definition

Tension

Tense, dramatic, tightness, tautness, tenseness, rigidity, pull, stress, strain, straining, stretching, apprehension, pressure, worry

Simile

comparison between two things using like or as

Metaphor

a comparison as if a thing is something else

Personification

giving human qualities to inanimate objects, animals, nature placing contrasting ideas close together in a text repetition of letter 's', it is a form of alliteration

Terminology

Use the range of emotions/alternative words to analyse the way characters are presented, how they feel and what the writer has intended in your analysis. Definition

Explicit

obvious or easy to select as the meaning

Implicit

inferred - it is suggested, but not actually said, the reader reads between the lines

Effect

cause (something) to happen; bring about:

Tentative Style

Explaining the meaning using words that express modality (could/may/might)

Impression

an idea, feeling, or opinion about something or someone

Evaluate

form an idea of the amount, number, or value of; assess

Hyperbole

the use of symbols to represent ideas or qualities the way a piece of text sounds e.g. sarcastic etc. The mood or atmosphere in the writing. use of exaggerated terms for emphasis

Evidence

To use a quotation from a text (short and snappy is best)

Opinion

information that you canâ&#x20AC;&#x2122;t prove

Suggest, implies, creates, infers, conveys demonstrates, explores, represents, indicates

Pathetic Fallacy

ascribing human conduct and feelings to nature

Other words for shows

Accentuates, highlights, reinforces, strengthens, supports

Emotive Language

language which creates an emotion in the reader

Other words for emphasises Triplets

Dialogue

Speech

Using three ideas to explore meaning (helps develop concise but detailed exploration of meaning)

Description

Showing the reader by describing what is happening

Concise

Straight to the point and avoiding waffle

Foreshadowing

a warning or prediction of a future event

Creates

To show what is happening

Terminology

Language and structural techniques that are used by the writer for effect

Word Class Terminology

Definition

Noun

Verb

the name of something (Proper Noun: people, places, dates & months must have a capital letter at the start) A word used to describe an action

Adverb

often ly words which describes how things are done

Adjective

a word used to describe

Connotations

Juxtaposition Sibilance Symbolism Tone

How can I use these?

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Key vocabulary

Year 7 - Knowledge Organiser – Gothic Writing Definition of ‘Gothic’ writing: “Tales of the macabre, fantastic, and supernatural, usually set amid haunted castles, graveyards, ruins, and wild picturesque landscapes.” Typical genre features:

Typical characters:

Typical settings:

1. Death and darkness

1. Mysterious characters with high social status e.g. Princes, counts

1. Wild landscapes

2. Supernatural (magic, ghosts, vampires, curses)

2. Female or feminine characters that are threatened by powerful men

2. Medieval style castles, churches or abbeys

3. Curses or prophecies

3. Threatening women who are monsters or vampires

3. Gloomy, decayed and ruined environments

4. Madness and intense emotions/paranoia

4. Powerful, tyrannical male figures

4. Remote, uninhabited places (older gothic) or monsters intermingling in every day life (newer gothic)

5. Mystery, terror and suspense

5. Villains, vampires, ghosts, werewolves, giants

5. Volatile and threatening weather (symbolism)

Social and Historical Context •

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Gothic writers are preoccupied with the supernatural because they believe that not everything has a scientific explanation. They believed that nature is ‘sublime’: it has the power to simultaneously inspire awe and terror in people. They challenged society’s expectations about propriety and emotion. To show wild emotion was seen as crass and uncouth, but not to the gothic writers, who often depicted passion and rage. They explored the role of the female characters: often in gothic texts, there are powerful female roles, which contrasted the contemporary society. They were very interested in the psychological exploration of characters, particularly in relation to themes of madness. Big question: why is a genre that is so frightening so popular?

Notable Gothic texts (in chronological order) Vathek – William Beckford, 1786

Frankenstei n – Mary Shelley, 1818

The Hunchback of Notre Dame – Victor Hugo, 1831

The Raven – Edgar Allen Poe, 1845

Entrapment Forbidding Grotesque Hopeless Lamentable Lifeless Mournfully Obscured Sinister Torturous Unleashed Vengeful Withered Wretched

Values and ideas held by gothic writers

The term ‘gothic’ comes from the Germanic tribe ‘the Goths’, who played a part in the fall of the Roman Empire. The Goths are sometimes called barbarians. They destroyed a lot of Roman architecture in around C3 and replaced it with buildings in the gothic style. Medieval Europe (C3-14) is sometimes referred to as the ‘Dark Ages’ (although this can be contested for a number of reasons.) Some believe that people lived in fear due to superstition and ignorance and that not much learning took place in this time. Castles with gargoyles were built to ward off evil spirits, this architecture is known as ‘gothic’ e.g. Notre Dame. Figures from The Age of Enlightenment (C18-19) believed that scientific progress was the only way to advance society, and great discoveries were made in this time. They tried to rid Europe of superstition and ignorance through promoting reason and logic. A group of poets, artists and thinkers called the Romantics challenged this because they believed that not everything can be explained by science, and too much reason rids the world of beauty and mystery. The gothic genre first emerged from the Romantic movement. It used art and ideas from the Dark Ages, wild emotion and nature to contrast modern ideas about science and logic. Gothic writing transformed into the format of the extremely popular Victorian ghost story. Today, we use the term ‘gothic’ widely to describe art, style, clothing (e.g. Alexander McQueen couture) music and film (e.g. Tim Burton films). The style and genre is very much still alive.

The Castle of Otranto – Horace Walpole, 1765

Abstruse Afflicted Alienate Anguish Annihilate Apprehensions Beguile Claustrophobia Decomposing Despair Dilapidated Discomforted Disfigured Enigma

Wuthering Heights – Emily Bronte, 1847

The Strange Case of Dr Jekyll and Mr Hyde – R.L. Stevenson, 1887

The Picture of Dorian Gray, Oscar Wilde, 1890

Dracula – Bram Stoker, 1897

Rebecca – Du Maurier, 1931

The Woman in Black – Susan Hill, 1983

The Graveyward Book, Neil Gaiman 2008

Key techniques Narrative voice

Semantic field

Sibilance

Assonance

Pathetic fallacy

alliteration

Contrast

Figurative

Imagery

Juxtaposition

Verb

Personification

Adjective

Symbolism

A word formed of a verb ending in ‘ED’ used as an adjective to describe a noun e.g. ‘The scared man jumped forward.’ A word formed of a verb ending in ‘ING’ used as an adjective to describe a noun e.g. ‘The laughing man jumped forward.’ A verb that functions as a noun e.g. ‘Swimming is my favourite sport’

A word that is used to identify a class of people, places or things e.g. children, countryside, chairs

A word use to name a particular people, place or thing e.g. Chris, East Anglia, Nimbus3000 A word that is used to modify a verb e.g. ‘He ran quickly.’

A word that is used to modify a noun e.g. ‘The tall teacher talked to the class.’

The person, place or thing that is carrying out an action or being something e.g. ‘The boy shouted loudly.’ The person, place or thing that is having an action done to it e.g. ‘The boy shouted loudly into the megaphone.’ A clause that can stand alone as a sentence e.g. ‘The cat sat on the mat’.

A clause that depends on an independent clause to make sense e.g. ‘Without turning around, the cat sat on the mat’. A dependent clause that is embedded within an independent clause e.g. ‘The man, who appeared from nowhere, sat next to the cat’. A sentence that makes a declaration e.g. ‘She sells sea shells.’

A sentence that asks a question (not rhetorical questions). ‘How much is that doggie in the window?’

A sentence that shows great emotions e.g. ‘I am appalled by your behaviour!’

A sentence that gives commands e.g. ‘Get out!’ A word that can replace a noun: I, You, He, She, It, They, Them, We A group of words that can be replaced by a pronoun e.g. ‘I’ve met the last remaining native’ Two or more words which play the role of an adverb e.g. ‘I sit in silence.’ A dependent clause that functions as an adverb e.g. ‘Looking around desperately for an escape, I ran for dear life.’ A word that indicates when something happens in time e.g. ‘During lesson one, the fire alarm rang.’ A word that indicates where something happens in place e.g. ‘A fire broke out in Room 51.’ A conjunction placed between clauses of equal importance: For, And, But, Or, Yet, So (FANBOYS).

Past Participle Present Participle Gerund

Common Noun

Proper Noun Adverb

Adjective

Subject Object Independent Clause

Dependent Clause Embedded Clause

Interrogative

Exclamatory

Imperative Pronoun Noun Phrase Adverbial Phrase Adverbial Clause Preposition Time Preposition Place Co-coordinating Conjunctions Subordinating Conjunctions

Declarative

A conjunction used to link dependent and independent clause to establish a time, place, reason, condition, concession or a comparison for the main clause: As, Because, Although, Though, Even Though, Whereas, If

A secondary verb in a sentence that can always be used even if the tense, person or number in the sentence changes.

Non-Finite Verbs

Finite Verbs

A word used to describe an action, state or occurrence

Auxiliary Verb

Grammar Verb

There Their They’re To Too Two Where Wear Which Witch Buy By

Homophone

Verb Agreements

Comma Splices

Common Errors Fragments

Apostrophe – Possessive Apostrophe – Omission Ellipsis

Comma – Lists Comma – Separating Dependent and Independent Clauses Brackets

Dash

Interrobang Semi-Colon Colon

Question Mark

Exclamation Mark

Full Stop

Punctuation Capital Letter

Indicating place. Indicating possession. Contraction of ‘they are’. A preposition. An Adverb indicating addition or excess. A number. Usually used as an adverb. A verb or noun indicating clothing. Usually used as a pronoun indicating choice. Flies on a broom stick with a black cat. A verb meaning to purchase. Usually used as a preposition.

Sentences that do not contain an independent clause. Two or more independent clauses separated by a comma. The use of a form of the verb that does not link to the subject e.g. ‘We was running.’ Words that sound the same but have different spellings and meanings.

() Used to indicate an afterthought which if omitted leaves a grammatically complete sentence. ‘ Used to indicate ownership. ‘ Used to indicate a missing letter. … Used to indicate a sudden change in topic, omitted words or a long pause.

! Used at the end of an exclamatory sentence to show strong emotion. ? Used to indicate an interrogative sentence or rhetorical question. ?! Informally used to indicate disbelief. ; Used to join two related independent clauses. : Used to precede lists, expansions or explanations. - Used to separate information from an independent clause or parenthetically. , Used to separate items in a list. , Used to separate dependent clauses from independent clauses.

An upper case letter used to after a full stop to begin a sentence or to indicate a proper noun. . Used to mark the end of a sentence.

Writing Accurately Writing accurately is a valuable skill and helps you express your ideas clearly and creatively across all subjects. Below are some of the important features of accurate writing for you to master. Remember: once you have mastered the rules, you can break them for your own creative effects.

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A symbolic figure who is able to pierce the unreality of Gatsby’s mansion, Owl Eyes’ symbolic glasses tie him to the idea of perception and question our ability to see what is truly real

A gangster and gambler moulded on Arnold Rothstein, Wolfsheim’s acquaintance with Gatsby calls the hero's character into question, whilst also acting as a tool to reveal Gatsby’s history and also inadvertently illustrating Nick’s biased narration.

Owl Eyes

Wolfsh eim

The Valley of Ashes represents the impact of capitalist excess. Its denizens are dull and lifeless, almost inhuman, and as such, it is closely tied to the idea of class.

Gatsby’s mansion and parties represent the excess and glamour of the Jazz age. Yet they are also clearly superficial and pretentious, representing the binary of glamour and repulsion Fitzgerald felt towards the Jazz Age.

The Valley of Ashes

Gatsby’s mansion

Gatsby shows how dreams and desire are always paradoxical; we pine for what we cannot have and if we get what we want, we lose desire itself. The American dream is equally debased in the book, combining glamour and wealth with excess and pretense all at the same time, it is shown simply to be about wealth.

Themes

Gatsby’s world is an amoral and secular one. The only hint towards religion is the mock omnipotence of Eckleberg. Does Fitzgerald believe that America has become debased in a more secular age, or does the period simply lack a moral core?

With all aspects of the text open to interpretation, all of its characters putting up facades and most of the narrative filtered through many lenses, Gatsby questions our ability to truly perceive, and explores the binary between illusion and reality. The selective detail used to convey Gatsby’s character embodies this. Do we ever know him?

Gatsby’s gender roles are rigid. Women are to look pretty, be subservient to men, and to embody masculine desires. Whether Fitzgerald’s characterization of Daisy and Jordan is reflective or critical of its time is open to interpretation. Even the men, however, are unfulfilled, and desirous of things they cannot have.

In its exploration of class, Gatsby shows the supercilious and elitist nature of old money America, challenging the county’s meritocratic ideals. The working poor are exploited to the point of ruination, and those who try enter the elite are judged on their manners and style by an elite with aristocratic pretensions.

Gatsby explores many of the myths of America. The east draws people away from the western frontier and corrupts them; the American Dream is debauched by excess; America as a place of creation and exploration is shown to be false, or in the very least corrupted when Gatsby, the novel’s creative force, dies.

For Gatsby, this is initially a metonymic representation of Daisy. Later, it embodies the paradoxical nature of Gatsby’s desire, and shows how our dreams are always out of reach.

A period of many contradictions, the 1920s, commonly known as the Jazz Age, were a period of glamour and affluence for some, and prejudice and disenfranchisement for others. Whilst women got the vote, African Americans were still denied it.. Whilst the middle-class boomed, industrialisation and urbanisation meant the working class were exploited with poor working conditions. Whilst high cultural forms such as Jazz and modernism proliferated, the era witnessed the first mass-media in the form of paperbacks, radio and cinema. Alcohol became illegal, but this simply fuelled mass illegality and made gangsters billionaires. Cars and money liberated many young people, whilst advertising increasingly homogenised them into consumers.

Myth and Symbol scholars highlighted three common tropes in early American literature: The machine in the garden, The American Adam, and the Virgin Land. As a text regularly regarded as one of America’s true literary masterpieces, Gatsby can been seen to explore and subvert all these tropes.

Initial reviewers, especially H.L Mencken were highly critical of the text, seeing it as a reflection of the Jazz Age’s superficiality. Later, it was seen as a visionary critique of the Age’s superficial, greedy and consumerist ethic, prescient in light of the 1929 Wall Street Crash.

Fitzgerald’s structure is a disrupted chronology that has many filters and layers. Firstly, we have the unreliable viewpoint of its participant narrator who regularly shows both his inadequacy as an impartial observer. Secondly, many of the vignettes of Gatsby’s life are repeated to Nick second hand, most tellingly is Jordan revealing Gatsby and Daisy’s past. This shows that there is no ‘true’ account of the story, and that reality is always mediated.

Fitzgerald uses romantic and modernist language at the same time. Romantic language shows the beauty in nature, and the transcendental power of human imagination. The modernist imagery is closely tied with the technological innovation of the Jazz age. Does Fitzgerald debase the romantic ideal via association with the superficiality of the jazz age, or does he show us the beauty in the jazz age itself? In its more modernist moments, the book is a highly experimental text.

Fitzgerald uses selective details to describe his characters, typifying them with one feature, such as Daisy’s voice. For Gatsby in particular, this adds to his elusive mystique and comments upon our inability to truly perceive reality.

Technique/context

Writing two years on, Nick narrates the details of G’s funeral. Few came, although G’s father did, and he tells Nick of G’s boyhood. Nick meets Tom in NY who tells him it was him who told Wilson that it was Gatsby. All westerners, Nick muses that the east might have corrupted him and his friends. Sitting on the beach outside Gatsby’s house, he imagines the East before it was settled.

The green light

East vs West, old money vs new, establishment vs progress. Gatsby is a novel about the American frontier.

Both T.J Eckleberg and Owl eyes wear glasses. Both seem to have unique powers of perception. Eckleberg oversees the Valley of Ashes and inspires Wilson to murder Gatsby, perhaps representing some kind of omnipotence?Owl Eyes is able to see through Gatsby’s facade.

Glasses

Geography

Green is clearly associated with Gatsby’s dream, but also with the new world, exploration and discovery. White is most closely associated with Daisy, could this be ironic? Yellow is associated with money and death, like the car, Jordan’s arms, and . Blue is closely associated with Gatsby and his parties, perhaps signifying their illusory nature. Grey is associated with lifelessness and death often in the Valley of Ashes and with Wilson.

Colour

Symbols and Motifs

A hardworking embodiment of the middle-class, Wilson’s life is destroyed by forces outside of his control.

Wilson

Nick meets G at his house, who tells him of his idolization of D. Later, Nick learns from Michaelis, what happened at the garage after the death. Wilson finds Tom who hints that it was Gatsby. Wilson kills Gatsby who and himself. Nick rushes back but finds Gatsby dead and then imagines Gatsby’s final thoughts.

G fires all his staff now the parties have served their purpose. On the hottest day of the year, they all meet for a drink in New York. G can hardly believe that D’s daughter is real. Tom’s suspicions of an affair are confirmed and a confrontation ensues. G and D drive off together, and on the way home, Nick, Tom and Jordan learn that Myrtle has been stuck and killed. Back at the Buchanan house, Nick sees G in the bushes who tells him D hit Myrtle.

Myrtle’s attempts to transcend her station are ultimately futile. Tom will no more grant her access to the Jazz Age’s glamour than her attempts at mimicking the fashions of the elite will.

Gatsby nervously talks to Nick, offering to pay to sort out the meeting. It rains on the day of the reunion, which is an awkward affair culminating in Gatsby throwing shirts as Daisy cries and them staring at the green light together.

Myrtle

The embodiment of old money, an athletic patrician with a “supercilious” manner, Tom nonetheless worries about his position in the world and dreams of the unreachable romance of the college football field.

Tom

Gatsby invites Nick to lunch and introduces him to Meyer Wolfsheim. During this time, he learns lots about Gatsby’s past, some of it true. Afterwards, he bumps into Jordan who tells him about Gatsby and Daisy’s past and asks him to arrange a meeting.

Rumours spread about Gatsby, and a reporter turns up at his house. Here, Nick decides to narrate Gatsby’s past in Dakota, and how he gained and lost his fortune through meeting Dan Cody. Having not seen either G or D for weeks, Nick bumps into Tom at Gatsby’s house. Tom is highly critical of Gatsby. Later, at another one of G’s parties Tom reveals to D that G’s wealth is made through bootlegging.

The object of Gatsby's affection, Daisy is a cynical individual who seems apathetic and ambivalent about her wealth and status. Is she simply vacuous, or the product of patriarchal society that places women on a pedestal?

Daisy

As the summer progresses, Nick eventually gets an invite to one of his mysterious neighbour’s parties. Here he meets Gatsby and Jordan. Gatsby speaks with Jordan alone and requests more of Nick’s company. The chapter ends with Nick narrating details of his everyday life.

Whilst she deviates from society's expectations with a fulfilling career, and seemingly embodies the freewheeling spirit of the era’s flappers, Jordan is cynical and cheats. What does this say about female independence and male attitudes towards it?

The narrator of the book, Nick can either be read as a naive but likable individual who latches on to individuals who do not care about him and provides a moral core to the text or a deluded hypocrite with no self-awareness.

Nick

Nick travels, via the Valley of Ashes, to New York with Tom to attend a party hosted my Myrtle, his mistress, at an apartment he pays for. Tom breaks her nose when she taunts him about Daisy whilst Nick gets very drunk.

Nick Carraway reveals he is narrating a story of the previous summer. This begins with him arriving in New York. Invited to his cousin Daisy’s for dinner, he finds out her husband is having an affair and meets Jordan Baker. Ends with Nick witnessing Gatsby alone on his dock.

Chapter summary

Jordan

An ambiguous figure. At once the embodiment of the American dream, he is also a criminal and regularly presents selective truths about his past. His unique capacity to dream and create are both inspiring and suspicious. Does Nick simply add further embellishment to an already mythologized narrative or is he an exceptional individual, one of the Myth and Symbol school’s American Adam.

Gatsby

Character

Great Gatsby: Knowledge Organiser

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Key Quotations "Whenever you feel like criticizing any one . . . just remember that all the people in this world haven't had the advantages that you've had." Chapter 1 "…what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men." Chapter 1 "I hope she'll be a fool — that's the best thing a girl can be in this world, a beautiful little fool . . . You see, I think everything's terrible anyhow . . . And I know. I've been everywhere and seen everything and done everything." Chapter 1 "Involuntarily I glanced seaward—and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock." Chapter 1 "This is a valley of ashes — a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens; where ashes take the forms of houses and chimneys and rising smoke and, finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air." Chapter 2 "He thinks she goes to see her sister in New York. He's so dumb he doesn't know he's alive." Chapter 2 "I married him because I thought he was a gentleman . . . I thought he knew something about breeding, but he wasn't fit to lick my shoe." Chapter 2 "He borrowed somebody's best suit to get married in, and never told me about it, and the man came after it one day when he was out . . . I gave it to him and then I lay down and cried . . . all afternoon." Chapter 2 "I believe that on the first night I went to Gatsby's house I was one of the few guests who had actually been invited. People were not invited — they went there." Chapter 3 "I've been drunk for about a week now, and I thought it might sober me up to sit in a library." Chapter 3 "I felt a haunting loneliness sometimes, and felt it in others — young clerks in the dusk, wasting the most poignant moments of night and life." Chapter 3 "It takes two to make an accident." Chapter 3 "Everyone suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known." Chapter 3 "I belong to another generation . . . As for me, I am fifty years old, and I won't impose myself on you any longer." Chapter 4 "'A phrase began to beat in my ears with a sort of heady excitement: 'There are only the pursued, the pursuing, the busy, and the tired.'" Chapter 4 "Gatsby, pale as death, with his hands plunged like weights in his coat pockets, was standing in a puddle of water glaring tragically into my eyes." Chapter 5 "Americans, while occasionally willing to be serfs, have always been obstinate about being peasantry." Chapter 5 "If it wasn't for the mist we could see your home across the bay . . . You always have a green light that burns all night at the end of your dock." Chapter 5 "His parents were shiftless and unsuccessful farm people — his imagination had never really accepted them as his parents at all. The truth was that Jay Gatsby of West Egg, Long Island, sprang from his Platonic conception of himself. He was a son of God . . . and he must be about His Father's business, the service of a vast, vulgar, and meretricious beauty. So he invented just the sort of Jay Gatsby that a seventeen year old boy would be likely to invent, and to this conception he was faithful to the end." Chapter 6 "Daisy and Jordan lay upon an enormous couch, like silver idols weighing down their own white dresses against the singing breeze of the fans." Chapter 7 "I love New York on summer afternoons when everyone's away. There's something very sensuous about it - overripe, as if all sorts of funny fruits were going to fall into your hands." Chapter 7 "So we drove on toward death through the cooling twilight." Chapter 7 "It excited him, too, that many men had already loved Daisy — it increased her value in his eyes." Chapter 8 "When a man gets killed I never like to get mixed up in it in any way. I keep out. When I was a young man it was different . . . I stuck with them to the end . . . Let us learn to show friendship for a man when he is alive and not after he is dead." Chapter 9 "After Gatsby's death the East was haunted for me like that, distorted beyond my eyes' power of correction." Chapter 9 "They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money of their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made." Chapter 9 "Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that's no matter — tomorrow we will run faster, stretch out our arms farther . . . . And one fine morning — So we beat on, boats against the current, borne back ceaselessly into the past." Chapter 9

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Key Plot Points

“I desired liberty; for liberty I gasped; for liberty I uttered a prayer; it seemed scattered on the wind then faintly blowing.” (Ch. 10) Class, gender, freedom.

Edward Rochester— The wealthy master of Thornfield Hall and Jane's employer and, later, her husband. Over the course of his life, he grows from a naive young man, to a bitter playboy in Europe, to a humble yet still strong man worthy of Jane. Both share similar virtues and seek their personal redemption

“What it was, whether beast or human being, one could not, at first sight, tell: it grovelled, seemingly, on all fours; it snatched and growled like some strange wild animal: but it was covered with clothing, and a quantity of dark, grizzled hair, wild as a mane, hid its head and face.” (Ch. 26) Social class, race, gender. “I found him a very patient, very forbearing, and yet an exacting master … By degrees, he acquired a certain influence over me that took away my liberty of mind … But I did not love my servitude” (Ch. 34) Social class, gender, freedom.

Bertha Mason—Rochester's ‘mad’ Creole wife from Jamaica who is locked away on the third floor of Thornfield. Bertha is portrayed less as a human being than as a Gothic monste. Because of her Creole or mixed race parentage, Bertha reveals Victorian prejudices about other ethnicities. She represents Rochester's monstrous secrets

Bildungsroman – a coming-of-age novel in which we witness the growth of a character from childhood to maturity. Proto-feminism – it would be anachronistic to describe JE as a feminist novel, but in it we can find the seeds of many ideas on which contemporary feminism is built.

Jane’s time as governess at Thornfield Hall, where she falls in love with her Byronic employer, Edward Rochester.

Jane’s time with the Rivers family, during which her earnest but cold clergyman cousin, St. John Rivers, proposes to her;

“Reader, I married him”. (Ch. 38) Feminism, class, Victorian social codes, narrative voice

Relevant Terminology

Jane’s education at Lowood School, where she acquires friends and role models but suffers privations and oppression.

Jane’s discovery of Rochester’s marriage to Bertha Mason and departure from Thornfield.

Resolution

Jane Eyre – The protagonist and narrator, Jane is an orphaned girl caught between class boundaries, financial situations, and her own conflicted feelings. In her youth and again as a governess, Jane must depend on others for support. Jane feels isolated, and strives for her personal freedom and meaningful connections with others—to find the loving family she never had.

Building Action

Key Characters

Jane's childhood at Gateshead Hall, where she is emotionally and physically abused by her aunt and cousins.

Climax

“You have no business to take our books; you are a dependant, mama says; you have no money; your father left you none; you ought to beg, and not to live here with gentlemen's children like us.“ (Ch.1 ) Class, gender, cruelty

Falling Action

Originally titled Jane Eyre: An Autobiography, Charlotte Bronte’s first novel was published in 1847 under the pseudonym of Currer Bell. It offers a ranging critique of Victorian social norms, especially those pertaining to gender and class.

Exposition

Jane Eyre,

Jane’s reunion with, and marriage to, her beloved, but now blinded, Rochester.

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Knowledge Organiser –Strange Case of Dr. Jekyll and Mr. Hyde Jekyll and Hyde is a C19th novella written by Robert Louis Stevenson

Context

Characters Richard Enfield: A distant relative of Utterson. A man about town who is the opposite of Utterson.

Stevenson was born in Edinburgh 1850. His family was a mix of engineers, scientists and religious ministers/philosophers. He was ill throughout his life and died in 1894 aged 44.

Dr Henry Jekyll: A wealthy, respected doctor/experimental scientist. Used to be social but becomes erratic. Thanks to his experiments, he transforms into Mr. Hyde.

Stevenson’s wife burnt the first copy due to its inappropriate themes. Stevenson wrote the copy we have today in a day.

Mr Edward Hyde: A small disfigured man with a sense of evil. He is violent and has no guilt nor motive for his actions. He is the evil part of Dr Jekyll.

The Victorians were shocked by the text and it’s inappropriate tone. A theatre was showing a performance of Jekyll and Hyde when a Jack the Ripper murder happened outside. Some members of the public believed the actor playing Hyde was responsible!

Mr Gabriel Utterson: An old friend of Jekyll and his lawyer. He is calm and rational. Does not suspect ever that Jekyll and Hyde are the same person. Utterson’s story arc is left incomplete.

Sir Danvers Carew: An elderly distinguished MP beaten death by Hyde in the street, His death marks a turning point in the novel.

The 1800’s saw a shift between religion and science, impacted by The Origin of the Species. Stevenson was obsessed with the unholy idea of man having 2 sides and tried for a long time to write a novel about this.

Dr Hastie Lanyon: Lanyon is a doctor and was close to Jekyll. Lanyon is a conventional, respectable scientist and fell out with Jekyll due to his obsession with dangerous paranormal experiments. Only character to see Lanyon transforming.

Poole: Jekyll’s servant who appears briefly , normally when Utterson is looking for Jekyll. Alerts Utterson to the unusual events in the house.

Maid: Witness Carew’s murder and is told from her point of view. She faints, giving Hyde time to escape and she calls the police. Hyde’s Landlady: Polite but unpleasant woman who gossips to Utterson about Hyde. Pleased to learn he’s in trouble.

Mr. Guest: Utterson’s secretary and handwriting expert. He comments on the similarity between Jekyll and Hyde’s handwriting.

Plot Chapter 1 The Story of the Door: Utterson and Enfield are out walking and pass a strange door. Enfield remembers a story about a man trampling on a girl there early one winter morning. A crowd gathered and the man offered to pay compensation, went in to the house with the strange door with a key and came back with money. Utterson is curious and asks Enfield if there was definitely a key. Chapter 2 Search for Mr Hyde: Utterson is worried. He reads his friend Dr Jekyll’s will, which says if he disappears, everything is left to Mr Hyde. Utterson visits Lanyon. Lanyon hasn’t heard of Hyde and not seen Jekyll for 10 years. Utterson starts watching the door and is shocked to see evil Hyde unlocking it. Utterson goes to warn Jekyll. Poole the butler states Jekyll is out and they are to follow Hyde’s orders. Utterson worries Hyde may kill Jekyll for the will. Chapter 3 Dr Jekyll was Quite At Ease: 2 weeks later Utterson stays after Jekyll’s dinner party to ask about the will. Jekyll laughs and compares Utterson to he conventional and dull Lanyon. Utterson persists and Jekyll hints at his relationship with Hyde but reveals nothing. Jekyll asks Utterson to fulfil his duty as a lawyer to ensure the will is carried out and says he can get rid of Hyde easily. Chapter 4 The Carew Murder Case: Almost a year later, Hyde clubs Carew to death and is seen by a maid doing so. A letter to Utterson is found on Carew’s body. Utterson recognises the murder weapon to be half of Jekyll’s cane. Utterson learns Hyde committed the murder and offers to lead police to the house. They’re told Hyde’s been gone for 2 months but inside they find the other half of the cane and signs of a quick exit. Chapter 5 The Incident of the Letter: Utterson goes to see Jekyll and finds him sick. He asks if Jekyll has seen Hyde. Jekyll says he will never see Hyde again and shows a letter confirming this.

Utterson asks Guest his clerk to compare the handwriting to Jekyll’s. Guest finds them the same except with backwards slopes. Utterson believes it’s forged to protect Hyde. Chapter 6 The Incident of Dr Lanyon: The police can’t find Hyde and Jekyll is happily socialising again. Jekyll suddenly refuses to see Utterson. Utterson visits Lanyon to discuss but finds him dying. Lanyon won’t discuss Jekyll but hints he’s responsible for Lanyon’s sickness. Utterson writes to Jekyll and receives a reply saying Jekyll is disturbed. Lanyon dies, leaving a letter to be opened after Jekyll’s death. Utterson tries to see Jekyll but is refused. Chapter 7 The Incident at the Window: Utterson and Enfield are out walking. They pass Jekyll, sat like a prisoner. Utterson calls out and Jekyll replies but is scared. This scares Utterson and Enfield, who leave in silence. Chapter 8 The Last Night: Poole asks Utterson to come to Jekyll's house. They go to the lab but the door is locked and the voice is not Jekyll’s. Poole says the voice has been crying for chemicals and rejecting impure kinds and that the figure in there is scarcely human. They break down the door and find a small body twitching, holding a test tube. There is a new will dated that day leaving everything to Utterson. There is also Jekyll’s confession and a request to read Lanyon’s letter. Utterson says he will return later once he’s read them all. Chapter 9 Dr Lanyon’s Narrative: Lanyon’s letter reveals how Lanyon received a letter asking him to collect chemicals/vial/notebook from Jekyll’s lab and give it to a man at midnight. Lanyon states the book had strange entries. Hyde appears at midnight offering to take the chemicals away or drink them. He drinks them, turns back into Jekyll and Lanyon becomes ill from shock. Chapter 10 Henry Jekyll’s Full Statement of the Case: Jekyll explains how he became Hyde. It began as scientific curiosity about human nature. However his darker side (Hyde) took over and destroyed him. The novella does not return to Utterson.

Themes •

Duality, good, evil, science, religion, death, control, repression, appearance, friendship

A-PDF OFFICE to remove the watermark Character ChapterTO PDF Plot DEMO: Purchase from www.A-PDF.com 1 The Story of the Door

2 Search for Hyde

3 Dr Jekyll was Quite at Ease

4 The Carew Murder Case

5 Incident of the Letter

6 Remarkable Incident of Dr Lanyon

Nearly a year later, an elderly gentleman is murdered in the street by Hyde. A letter to Utterson is found on the body. Utterson recognises the murder weapon has a broken walking cane of Jekyll’s. He takes the police to Jekyll’s house to find Hyde, but are told he hasn’t been there for two months. They find the other half of the cane and signs of a quick exit. Utterson goes to Jekyll’s house and finds him ‘looking deadly sick’. He asks about Hyde but Jekyll shows him a letter that says he won’t be back. Utterson believes the letter has been forged by Jekyll to cover for Hyde. Hyde has disappeared and Jekyll seems more happy and sociable until a sudden depression strikes him. Utterson visits Dr Lanyon on his death-bed, who hints that Jekyll is the cause of his illness. Utterson writes to Jekyll and receives a reply that suggests he is has fallen ‘under a dark influence’. Lanyon dies and leaves a note for Utterson to open after the death or disappearance of Jekyll. Utterson tries to revisit Jekyll but is told by Poole that he is living in isolation.

7 Incident at the Window

Utterson and Enfield are out for walk and pass Jekyll’s window, where they see him confined like a prisoner. Utterson calls out and Jekyll’s face has a look of ‘abject terror and despair’. Shocked, Utterson and Enfield leave.

8 The Last Night

Poole visits Utterson and asks him to come to Jekyll’s house. The door to the laboratory is locked and the voice inside sounds like Hyde. Poole says that the voice has been asking for days for a chemical to be brought, but has rejected it each time as it is not pure. They break down the door and find a twitching body with a vial in its hands. There is also a will which leaves everything to Utterson and a package containing Jekyll’s confession and a letter asking Utterson to read Lanyon’s letter.

9 Dr Lanyon’s Narrative

The contents of Lanyon’s letter tells of how he received a letter from Jekyll asking him to collect chemicals, a vial and notebook from Jekyll’s laboratory and give it to a man who would call at midnight. A grotesque man arrives and drinks the potion which transforms him into Jekyll, causing Lanyon to fall ill.

Dr Henry Jekyll

A doctor and experimental scientist who is both wealthy and respectable.

Mr Edward Hyde

A small, violent and unpleasant-looking man; an unrepentant criminal.

Gabriel Utterson

A calm and rational lawyer and friend of Jekyll.

Vocabulary

Context

aberration

Fin-de-siècle fears – at the end of the 19th century, there were growing fears about: migration and the threats of disease; sexuality and promiscuity; moral degeneration and decadence.

abhorrent

Dr Hastie Lanyon

A conventional and respectable doctor and former friend of Jekyll.

Richard Enfield

A distant relative of Utterson and wellknown man about town.

Poole

Jekyll’s manservant.

Sir Danvers Carew

A distinguished gentlemen who is beaten to death by Hyde.

allegory allusion anxiety atavism consciousness debased degenerate depraved

Mr Guest

Utterson’s secretary and handwriting expert.

Themes

duality duplicity epistolary

Science and the unexplained The supernatural Reputation

feral genre metamorphosis perversion professional respectability restraint

Rationality

savage subconscious

Urban terror

suppression supernatural

10 Henry Jekyll’s Full Statement of the Case

Jekyll tells the story of how he turned into Hyde. It began as a scientific investigation into the duality of human nature and an attempt to destroy his ‘darker self’. Eventually he became addicted to being Hyde, who increasingly took over and destroyed him.

Secrecy and silence

The implications of Darwinism and evolution haunted Victorian society. The idea that humans evolved from apes and amphibians led to worries about our lineage and about humanity’s reversion to these primitive states. Physiognomy – Italian criminologist Cesare Lombroso (1835-1909) theorised that the ‘born criminal’ could be recognised by physical characteristics, such as asymmetrical facial features, long arms or a sloping forehead.

ethics eugenics

The duality of human nature

Victorian values – from the 1850s to the turn of the century, British society outwardly displayed values of sexual restraint, low tolerance of crime, religious morality and a strict social code of conduct.

unorthodox Victorian

Victorian London – the population of 1 million in 1800 to 6.7 million in 1900, with a huge numbers migrating from Europe. It became the biggest city in the world and a global capital for politics, finance and trade. The city grew wealthy. Urban terror – as London grew wealthy, so poverty in the city also grew. The overcrowded city became rife with crime. The crowd as something that could hide sinister individuals became a trope of Gothic and detective literature. Robert Louis Stevenson was born and raised in Edinburgh, giving him the dual identity of being both Scottish and British. Edinburgh was a city of two sides - he was raised in the wealthy New Town area, but spent his youth exploring the darker, more sinister side of town. Deacon Brodie – a respectable member of Edinburgh’s society and town councilor, William Brodie lead a secret life as a burglar, womaniser and gambler. He was hanged in 1788 for his crimes. As a youth, Stevenson wrote a play about him.

A-PDF OFFICE to remove the watermark Overview Character Plot TO PDF DEMO: Purchase from www.A-PDF.com 1 The Story of the Door

2 Search for Hyde

3 Dr Jekyll was Quite at Ease

4 The Carew Murder Case

5 Incident of the Letter

6 Remarkable Incident of Dr Lanyon

7 Incident at the Window

8 The Last Night

9 Dr Lanyon’s Narrative

10 Henry Jekyll’s Full Statement of the Case

Passing a strange-looking door whilst out for a walk, Enfield tells Utterson about incident involving a man (Hyde) trampling on a young girl. The man paid the girl compensation. Enfield says the man had a key to the door (which leads to Dr Jekyll’s laboratory) Utterson is worried because he recognized Hyde’s name from Jekyll’s will; in the event of his death or disappearance Hyde will inherit Jekyll's possession. Concerned, Utterson visits Lanyon who explains he has fallen out with Jekyll. Utterson watches the door and sees Hyde unlock it, then goes to warn Jekyll. Jekyll isn’t in, but Poole tells him that the servants have been told to obey Hyde. Two weeks later, Utterson goes to a dinner party at Jekyll’s house and tells him about his concerns. Jekyll laughs off his worries but does ask Utterson to protect Hyde if anything happens. Nearly a year later, an elderly gentleman is murdered in the street by Hyde. A letter to Utterson is found on the body. Utterson recognises the murder weapon as a broken walking cane of Jekyll’s. He takes the police to Hyde’s house but are told that, apart from the previous night, he hadn’t been there for two months. They find the other half of the cane and a burned cheque book. Utterson goes to Jekyll’s house and finds him ‘looking deadly sick’. He asks about Hyde but Jekyll shows him a letter that says he won’t be back. Utterson shows the letter to his clerk, Mr Guest, who notices the writing is very similar to Dr Jekyll’s. Hyde has disappeared and Jekyll seems more happy and sociable until he becomes suddenly reclusive. Utterson visits Dr Lanyon on his death-bed, who hints that Jekyll is the cause of his illness. Utterson writes to Jekyll and receives a reply that suggests he is has fallen ‘under a dark influence’. Lanyon dies and leaves a note for Utterson to open after the death or disappearance of Jekyll. Utterson tries to revisit Jekyll but is told by Poole that he is living in isolation. Utterson and Enfield are out for their usual Sunday walk and pass Jekyll’s window, where they see him confined like a prisoner. After a brief chat, suddenly Jekyll’s face has a look of ‘abject terror and despair’ and the window is slammed shut. Shocked, Utterson and Enfield leave. Poole visits Utterson and asks him to come to Jekyll’s house. The door to the laboratory is locked and the voice inside sounds like Hyde. Poole says that the voice has been asking for days for a chemical to be brought, but has rejected it each time as it is not pure. They break down the door and find a twitching body with a vial in its hands. There is also a will which leaves everything to Utterson and a package containing Jekyll’s confession and a letter asking Utterson to read Lanyon’s letter. The contents of Lanyon’s letter tells of how he received a letter from Jekyll asking him to collect chemicals, a vial and notebook from Jekyll’s laboratory and give it to a man who would call at midnight. A grotesque man arrives and drinks the potion which transforms him into Jekyll, causing Lanyon to fall ill. Jekyll tells the story of how he turned into Hyde. It began as a scientific investigation into the duality of human nature and an attempt to destroy his ‘darker self’. Eventually he became addicted to being Hyde, who increasingly took over and destroyed him.

This novella is about man’s dual nature. A respectable doctor, Henry Jekyll, experiments and finds that he is able to transform into the criminal and evil Edward Hyde. The text is about human nature – everyone has good and evil inside them. When characters explore their dark side it leads to problems but hiding or denying it can lead to issues too.

Setting and Symbolism The settings are mainly dark and foggy; London streets are presented as threatening. Many objects also represent wider things e.g. closed doors, Jekyll’s house, possessions, windows…

Dr Henry Jekyll

A doctor and experimental scientist who is both wealthy and respectable.

Mr Edward Hyde

A small, violent and unpleasant-looking man. Makes those around him feel disgusted and uneasy.

Gabriel Utterson

A calm and rational lawyer and friend of Jekyll.

Dr Hastie Lanyon

A conventional and respectable doctor and former friend of Jekyll.

Richard Enfield

A distant relative of Utterson and well-known man about town. Sunday walks with Utterson.

Poole

Jekyll’s butler. He has worked with him for 20 years.

Sir Danvers Carew

A distinguished gentlemen who is beaten to death by Hyde.

Mr Guest

Utterson’s clerk and handwriting expert.

Themes The duality of human nature

Two sides to every man; they can’t be separated successfully. Stevenson commenting on society which can’t be all good nor can it be divided into good and evil.

Science and the unexplained

The advance of science during the Victorian period was a source of pride and fear.

Reputation

The way people are viewed by society; in some cases reputation matters more than anything else. Stevenson presents the idea that reputations cannot be trusted.

Rationality

Basing your world view on facts.

Secrecy and silence

Throughout the novella secrets are kept. Repeated references to silence.

Gothic

Popular, often sensationalist, genre which gives voice to taboos and that which we are afraid to confront.

Context (Written 1880) Fin-de-siècle fears At the end of the 19th century, there were growing fears about: migration and the threats of disease; sexuality and promiscuity; moral degeneration and decadence. Victorian values British society outwardly displayed values of sexual restraint, low tolerance of crime, religious morality and a strict social code of conduct. The implications of Darwinism and evolution haunted Victorian society. The idea that humans evolved from apes and amphibians led to worries about our lineage and about humanity’s reversion to these primitive states. Physiognomy Italian criminologist Cesare Lombroso (1835-1909) theorised that the ‘born criminal’ could be recognised by physical characteristics, such as asymmetrical facial features, long arms or a sloping forehead. Victorian London The population of 1 million in 1800 grew to 6.7 million in 1900 with a huge numbers migrating from Europe. It became the biggest city in the world and a global capital for politics, finance and trade. The city grew wealthy. Urban terror As London grew wealthy, so poverty in the city also grew. The overcrowded city became rife with crime. The crowd as something that could hide sinister individuals became a trope of Gothic and detective literature. Robert Louis Stevenson was born and raised in Edinburgh, giving him the dual identity of being both Scottish and British. Edinburgh was a city of two sides - he was raised in the wealthy New Town area, but spent his youth exploring the darker, more sinister side of town. Deacon Brodie was a respectable member of Edinburgh’s society and town councilor, William Brodie lead a secret life as a burglar, womaniser and gambler. He was hanged in 1788 for his crimes. As a youth, Stevenson wrote a play about him.

Structure: 7 stanzas. No rhyme and not much punctuation. This is a narrative poem with run on lines (enjambment). Regular syllable patterns that creates a rhythm like the waves of the ocean. (Can represent that things will happen no matter what you do.)

Language:

Symbolism: “figure of eight” – the infinity symbol, repetitive cycle. The pilot feels trapped by his destiny.

Kamikaze by Beatrice Garland Context: Kamikaze  suicide pilot or bomber. During WW2 Japanese pilots were trained to fly their planes into warships. In the process they would commit suicide. In the Japanese culture being a kamikaze pilot is good, because the pilot is dying for their country, this will bring pride and

Symbolism: “cairns of pearl-grey pebbles” – death and remembrance.

The story of the poem: The poem is about one suicide pilot, going on a mission to destroy a war ship. The pilot chooses not to complete the mission. He returns home alive. His family is disappointed because he is no longer a pride and honour to the family. They ignore and dishonour him “they treated him as though he no longer existed”.

Narrator:

The poem is written both from a narrator and the daughter of the pilot.

Metaphor: “journey into history” – the journey is not just for the pilot to experience.

The narrator tells the story, while the speaker gives a first person account of how the pilot was excluded from family life.

Metaphor: “…a tuna, the dark prince,…” – foreshadows the dark end to the poem.

While the daughter tells the story to her children the font changes to italics.

Listing: using commas to create a list. In stanza 1, it is used to create a sense of intimacy with the pilot. In stanza 5, the catch of the boat connotes childhood joy which is the darkened by the pilot’s life. Sibilance: “safe to the shore, saltsodden” Imagery: nature and the ocean “flashing silver” – the fish represent the aircraft and its honour and glory. Imagery: The pilot’s life is caught in a helpless loop. He will die either way, no matter what he chooses. Pronoun: “he” – the daughter leaves him nameless as if she is

Themes:

Conflict between society ‘honour’ and the will to survive. The conflict is profound because there seems to be no right answer. The pilot will die either way. This poem also looks at fate and destiny. Another theme is nature. It deals with the natural way of life as well as the imagery in nature. Responsibilities of the pilot. He has the responsibility to fulfil his mission and on the other hand the responsibility to be a father and a husband.

Key words:

Sunrise (Japan is known as the land of the rising sun), samurai sword, recounting, flashing silver, huge flag, no longer existed, gradually, he, father, came back, boat, cockpit, mother, presence.

Which death would have been better? “And sometimes, she

said, he must have wondered which had been the better way to die.” Highlights the conflict of the poem.

Kamikaze – Beatrice Garland Plot

Key

Begins with a Kamikaze pilot setting off on his mission. Kamikaze pilots were specifically trained Japanese pilots used toward the end of WWII who flew planes on suicide missions into enemy ships. Seen as an honour to serve your country this way. • Becomes clear the pilot turned around not completing his mission. His daughter imagines this is because he saw the beauty of nature and remembered his childhood innocence. • The pilot was shunned and shamed on coming home, including by his family. Stylistic features Key themes characters Historical Context and relevant terms Power of nature Kamikaze pilots were specifically trained Japanese pilots used toward the end Enjambment The pilot himself, described with Japanese of WWII who flew planes on suicide missions into enemy ships. Seen as an tradition and honour on opening but experiences Loss and Similes honour to serve your country this way. a change of heart. absence •

The pilot’s daughter, recounts the story of her father to her children. Presents his change of heart coming from his memories and nature. Pilot’s brothers; representations of his memories of childhood innocence. His wife and neighbours, ignore and shun him when he comes home from his suicide mission.

Memories Identity: patriotism, family Individual experience of conflict

Beatrice Garland works as a clinician and researcher for the NHS, Kamikaze published as part of her first collection The Invention of Fireworks

Key Quotations

“enough fuel for a one-way / journey into history” “little fishing boats / strung out like bunting”

Natural Imagery Flashback (Analepsis)

“like a huge flag waved first one way / then the other”

Third person – with some direct speech

“cloud marked mackerel / black crabs,feathery prawns”

Irony

“my mother never spoke again / in his presence”

Volta (Full stop at end of stanza five, represents plane landing, life changing.)

“We children still chattered and laughed” “no longer the father we loved” “which had been the better way to die”

Quotations A-PDF OFFICE TO PDF DEMO: Purchase from www.A-PDF.com toKey remove the watermark by William Shakespeare

Tragic Arc

Fool (3.2): "Here's a night pities neither wise men nor fools." Edmund (3.3): "The younger rises when the old doth fall." Edgar (4.3): "The younger rises when the old doth fall." Lear (4.7): "I am a very foolish, fond old man."

Cordelia – Lear’s favourite daughter. Unable to put her love for her father into words, Cordelia is disinherited then married to the King of France. She fights to save her father and they are briefly reconciled before she is hanged.

Lear (5.3): "No, no, no life? Why should a dog, a horse, a rat have life, And thou no breath at all? Thou'lt come no more, Never, never, never, never, never."

Regan and Goneril – Lear’s other daughters. They earn his favour by exaggeratedly professing their love for him. Then they betray him. Gloucester – A loyal member of Lear’s court, Gloucester is tricked into disinheriting his legitimate son Edgar. He is later blinded but then saved by his forgiving son. Edmund – Gloucester’s illegitimate son, Edmund tricks his father into disinheriting his brother and naming him heir. Later becomes a significant member of Regan and Goneril’s regime. Edgar – Gloucester’s legitimate son, Edgar remains faithful to and ultimately saves his father. The Fool – Lear’s court jester/ advisor / protector.

Storge – The Greek word for love between family members. Of the many types of love identified by the Greeks, storge pays the least attention to those characteristics deemed "valuable" or worthy of love and, as a result, is able to transcend and overlook flaws or slights.

Relevant Concepts and Terminology

Primogeniture – the law which decreed that estates be passed directly from a father to his first-born (legitimate) son. Tragedy – the classification of drama in which a noble protagonist, who is flawed in some way, is placed in a stressful heightened situation. The plots of Shakespearean tragedy focus on the reversal of fortune of the central character(s) which leads to their ruin and ultimately, death.

Building Action

Lear (1.4): "How sharper than a serpent's tooth it is / To have a thankless child." Lear (3.2):"Blow winds, and crack your cheeks! Rage, blow!" “I am a man / More sinned against than sinning”.

Climax

Lear – The elderly King of Britain. Lear had planned to divide his kingdom between his three daughter but ends up giving it to just two after they profess their great love of him. He eventually reunites with Cordelia, having been betrayed by Regan and Goneril but not before he descends into madness.

Cordelia (1.1): “I cannot heave / My heart into my mouth”. Edmund (1.2): “Now, gods, stand up for bastards!"

Falling Action

Key Characters

Lear (1.1): “Which of you shall we say doth love us most?” Goneril (1.1): “Sir, I love you more than words can wield the matter”.

Resolution

Derived from the myth Leir of Britain, King Lear is a Shakespearean tragedy first performed on St Stephen’s Day 1606. It tells the parallel stories of Lear’s betrayal by two of his daughters and subsequent descent into madness and of his kinsman’s the Earl of Gloucester’s betrayal by his illegitimate son and subsequent rescue by his legitimate son.

Exposition

King Lear

Lear invites his daughter’s to profess their love for him in exchange for greater shares of his kingdom. Regan and Goneril flatter him while Cordelia refuses to speak. Regan and Goneril are each granted half of the Kingdom, while Cordelia is banished Edmund tricks his father into legitimatising him and disinheriting Edgar. Lear is hounded out of both his daughters’ households. He walks away onto the heath accompanied only by his fool and by Kent (a nobleman travelling in disguise). Hearing of the sisters’ treachery, Gloucester goes to help Lear. His son, Edgar is also on the heath disguised as a beggar (Poor Tom). Gloucester is blinded as punishment for trying to help Lear. He is turned out to wander the heath where he is met by his (still disguised) son Edgar and led to Dover, where Lear has travelled. Edmund becomes romantically involved with both Regan and Goneril. He conspires with Goneril to kill her regretful husband, Albany. The French Army, led by Cordelia, arrives at Dover. Lear and Cordelia are briefly reunited before Cordelia is hanged for rising against her sisters. Lear dies because of his grief. Albany and Edgar resolve to pick up the pieces, building a new world after the tragic events.

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Act 1

Act 2

Act 4

Act 5

Having agreed to kill King Duncan, Macbeth sees a dagger and wonders if it is a “dagger of the mind”, because he is having second thoughts. However, he resolves to kill King Duncan, who is found dead at dawn by Macduff. The king’s sons flee, fearing for their lives. In their absence, Macbeth is chosen to be king. Banquo suspects that Macbeth was involved in Duncan’s murder. Macbeth fears Banquo and so plans to have Banquo and his son, Fleance, murdered away from the castle. Banquo is killed but Fleance escapes. The ghost of Banquo appears at a feast to haunt Macbeth. The guests become suspicious of Macbeth because of his violent reactions to a ghost that only he can see. Macbeth, filled with insecurity, returns to the witches and is given three more predictions: • Beware Macduff, beware the Thane of Fife • None of woman born can harm Macbeth • Macbeth shall never be beaten until Birnam Woods moves towards his castle Macbeth learns that Macduff has fled Scotland. He orders the execution of Macduff’s wife and children. Lady Macbeth appears on stage sleepwalking. Her mental health has deteriorated terribly. She is burdened by feelings of guilt, which she sees as blood on her hands that she is unable wash away. Duncan’s son Malcolm, backed by the English army and Macduff, approach Macbeth’s castle. They chop down branches from the trees at Birnam Wood to disguise how big their army is. Birnam Wood appears to move. Macbeth says he fears no man as all men are born by women. Macduff announces he was not born naturally but was “ripp’d” prematurely from his mother’s womb. Macduff kills Macbeth and Malcolm becomes the next King of Scotland

Macbeth

Lady Macbeth

Banquo

A “brave” and loyal warrior whose vaulting ambition leads him to commit regicide Macbeth’s wife. Coerces Macbeth into committing regicide. Loses control and commits suicide at end of play. Scottish nobleman; close friend of Macbeth. Betrayed and killed. Ghost haunts Macbeth at a feast.

Fleance

Banquo’s son.

aside “Fair is foul and foul is fair”

soliloquy dramatic irony tragedy protagonist deuteragonist hamartia prophecy

King Duncan Macduff

A fair and generous ruler who is butchered by Macbeth. A Scottish nobleman, loyal to Duncan. Kills Macbeth to restore order to Scotland.

Malcolm The witches / “weird women”

Duncan’s eldest son, the Prince of Cumberland. Presented by Shakespeare as supernatural beings who can foretell the future.

HISTORICAL CONTEXTS The play ‘Macbeth’ is loosely based on events which occurred in 11th century Scotland. King James was a Scottish king who believed himself to be a direct descendant of Banquo. King James VI of Scotland inherited the throne of England when Queen Elizabeth I died. In 1604, English Catholics attempted to assassinate King James in the famous Gunpowder Plot. The play is a piece of political propaganda, warning English audiences that regicide leads to eternal damnation. This is because King James believed in the Divine Right of Kings: the belief that God had chosen him to rule on Earth.

The Great Chain of Being: the belief in a social hierarchy, planned by God, as follows: God – Angels – Demons – Humans – Beasts – Plants – Rocks. When Macbeth kills Duncan, this leads to a disruption in the natural order that is referred to in the play: storms; earthquakes; chimneys blown down; a solar eclipse.

KEY QUOTATIONS

guilt regicide

“Stars, hide your fires. Let not light see my black and deep desires.” “Come, you spirits That tend on mortal thoughts, unsex me here and fill me from the crown to the toe top full of direst cruelty. Make thick my blood.” “Look like the innocent flower but be the serpent under’t.”

metaphor imagery

“A little water clears us of this deed. How easy is it then.”

symbolism supernatural blank verse rhymed verse

DRAMATIC DEVICES aside

“Thou hast it all now: King, Cawdor, Glamis, all as the weird women promised. And I fear thou playds’t most foully for it.”

“Nought’s had, all’s spent, where our desire is got without content.”

dramatic irony

“Our fears in Banquo stick deep” and “Every moment he’s alive stabs me to the heart.”

soliloquy

“Macbeth shall never vanquished be until Great Birnam Wood to High Dunsinane hill shall come against him.”

rhyming couplets

Shakespeare : ‘Macbeth’

Act 3

Macbeth and Banquo are two Scottish noblemen who encounter three witches on a heath. The witches give both men predictions and then vanish. One of the predictions given to Macbeth comes true almost immediately. Macbeth writes a letter to his wife. She is excited by the news and summons evil spirits to give her the courage to commit murder. Macbeth arrives to announce that King Duncan is coming to spend the night at their castle.

KEY VOCAB.

London– Knowledge Organiser

Plot summary: The poem explores the prevalence of everyday horror in the streets of London. The speaker sees dismay and decay of society endemic: the individuals in the city

help to perpetuate they cycle. Children are forced into work. The walls of the Palace are stained with the blood of its soldiers; the upper class ignore the lower classes’ plight. The city’s trouble is cyclic and repeats with the new born infant at the end of the poem being born into poverty.

Key characters The speaker who wanders throughout the city The soldier whose blood stains the wall of the Monarch’s Palace The chimney sweeper whose cries are rejected by the Church The new born infant who is born into poverty and plight at the end of the poem

Key themes

The disparity of wealth between the classes Nature and the effect of Industry Mortality Youth and innocence War The Church

Historical Context –written in 1794 The poem’s first lines echo the intro to another of Blake’s works from the The Songs of Innocence yet are a contrast to the uplifting, natural images weaving through that collection of poems. This poem was published in Songs of Experience. The French Revolution: in 1789, the French people used violence and murder to overthrow the King and those in power. Some saw the French Revolution as motivational: everyday, ordinary, disadvantaged people were able to seize power. Blake alludes to the revolution in London, arguably suggesting that the experience of living there could encourage a revolution on the streets of London. The word ‘chartered’ could link to the Royal Charters introduced that gave the Monarch power to control trade at that time which some saw as oppressive to the lower classes. It could also link to the overcrowded streets.

Key Quotations ‘each chartered street, /Near where the chartered Thames does flow, (L/I&P)’ ‘In every face I meet/ Marks of weakness, marks of Woe’ (L/ I&P) ‘In every cry of every man, / In every infant’s cry of fear,’ (L) ‘mind-forged manacles I hear’ (L/I&P) ‘the chimney-sweeper’s cry/ Every black’ning church appalls,’ ‘hapless soldier’s sigh/ Runs in blood down palace walls.’ (I&P/ S Rhyme) ‘The new born infants tear’ (S/I&P) ‘blights with plagues the marriage hearse’ (L/S/I&P)

Stylistic features and relevant terms Alternate rhyme Stanza Quatrain Repetition Assonance Anaphora Elision End-stopped line

Lord of the Flies – Knowledge Organiser A-PDF OFFICE TO PDF DEMO: Purchase from www.A-PDF.com to remove the watermark Plot summary 1 The Sound of the Shell – During WW2, plane carrying evacuees crashes on an island. Piggy (P) meets Ralph(R) and they find a conch shell. R made leader; Jack (J) made leader of hunters. 2 Fire on the Mountain – Beastie first mentioned. Signal fire rages out of control and kills boy with birthmark. 3 Huts on the Beach – P focuses on building shelter; J and choir prefer hunting. Simon (Si) disappears and finds peaceful, aromatic part of island. 4 Painted Faces and Long Hair – J and others paint their faces – say it’s for camouflage but it actually reveals their savage identity. 5 Beast from Water – beastie discussed. J starts to rebel against the rules/democracy.

Key characters

Key themes

Ralph – Anglo Saxon word for council: leader, tall, rational, blonde hair Piggy – nickname only (never learn his real name): glasseswearing, asthma- suffering, low class, bullied Jack – ‘one who takes over’ – tall, intimidating, red hair Simon – ‘one who listens’ – small, shy, ‘queer’, spiritual, black hair Roger – ‘one with a spear’ – secretive, sadistic, Jack’s sidekick SamnEric – twins, always together The Littluns – collective name of the younger boys

* Democracy vs dictatorship * Civilisation vs savagery * The loss of innocence *Consequences of war * Individual vs community * Good vs evil * Human nature (the natural desires we have in us: to be selfish, savage and immoral) * Communication (or lack of it)

6 Beast from Air – Sam + Eric (S+E) mistake the parachutist for the beast 7. Shadows and Tall Trees – The boys fight and separate. Storm begins. 8 Gift for the Darkness – J sacrifices pig’s head to beast 9 A View to a Death – Si thinks the head talks to him; it realises his paranoia. S killed by the boys. 10 The Shell and the Glasses – P, S+E avoid talking about Si’s death. J and hunters steal P’s glasses. 11 Castle Rock – P+R go to get P’s glasses. P killed by Roger. 12 Cry of the Hunters – R runs for his life. Fire engulfs the island and a naval officer comes to investigate. The boys are rescued.

Historical context          

Symbols + allegory

The people of Britain had just been through the Second World War. In the novel, the boys seem to create their own war, suggesting the reality of human nature Food was still being rationed in Britain. Desire for food is a major part and motivation of LOTF. It was feared that there might be a nuclear war between Western countries and the Soviet Union. References to bombs + fighting are made throughout the novel. Golding worked as a teacher in a boys’ school and said he understood young boys with ‘awful precision.’ Golding served in the Navy during WW2. He came to the conclusion that all human beings had the capacity for incredible evil, even children. Britain was having to come to terms with the loss of the British Empire. Public schools (where most of the boys on the island went to) still produced most of Britain’s leaders and top professionals. The class system was very much existent in Britain. Piggy stands out for being lower class; the others are upper class. Nazi Germany had adopted a system of rewarding the strong and attacking the weak. The same system appears to happen in the novel. The adults the boys wish could help them are the same ones who are fighting the war that has led to the boys being stranded.

Conch – civilization and democracy Piggy’s glasses – science and technology Fire – hope of salvation The Beast – human nature (the desire to be a savage) The Lord of the Flies (pig’s head) – physical manifestation of the beast Adults – civilization and social order The ocean – the unconscious mind; the desires and thoughts we have within ourselves Allegory = story that relates to another context Religious allegory The island = Garden of Eden The scar = how man destroys paradise (the Fall of Man) Simon = Jesus Christ War allegory Piggy = the Jews; victimized, vulnerable Jack = Nazi leader; manipulates and bullies

Key Quotations There: ‘Maybe there is a beast…maybe it’s only us’ (Simon) Hiding: “The mask was a thing on its own, behind which Jack hid, liberated from shame and selfconsciousness.” Experience: “They walked along, two continents of experience and feeling unable to communicate.” (Jack and Ralph) ‘Life… is scientific’ (Piggy) Or: ‘Which is better, law and rescue, OR hunting and breaking things up?’ (Piggy) ‘Right to speak!’ (I have the conch, I have a ….) ‘Desire to squeeze and hurt was over-mastering’ (remember this relates to Ralph) Order: ‘Roger’s arm was conditioned by a civilisation that knew nothing of him and was in ruins.’ ‘Fancy thinking the beast was something you could hunt and kill!’ (The Pig’s head to Simon)

‘The tearing of teeth and claws’ (when the boys kill Simon) ‘His fat, his ass-mar, his matter of fact ideas: Piggy was a bore’ ‘Exploded into a thousand pieces’ (the Conch after Piggy’s death) ‘Fall…of a true wise friend called Piggy (and the darkness of a man’s heart) – what Ralph wept for ‘Laughter became a bloodthirsty snarling’ (Jack) Incantation/chant: ‘Kill the pig, Cut his throat, Bash him in!’ Exclamation: ‘You’re a beast and a swine and a bloody, bloody thief!’ (Ralph to Jack) ‘Stick sharpened at both ends’ (Roger)

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Year 10 - Knowledge Organiser – Macbeth Macbeth is a play written by Shakespeare about ambition, witchcraft and murder.

Context

Characters

Shakespeare wrote Macbeth in 1606. At the time of writing, Shakespeare was performing to both the Elizabethan and Jacobean audiences. Elizabethan audiences were more positive and happy, and plays such as AMND reflect the popular mood. After Elizabeth’s death, James I came into power and darker themed plays (Macbeth/Hamlet) came along with it. King James I was obsessed with Kingship and magic. He wrote a text called Basilikon Doron about kingship and duty to God. He then wrote Daemonologie which explored the supernatural. James also attended witch trials. The audience believed deeply in, and were scared of, magic. Macbeth was written the year after the Gunpowder plot (1605). The play warns against regicide and shows the fate of those that try.

Macbeth – Thane of Glamis (glahms), Cawdor and then King of Scotland. Soldier who embarks on a tyrannical reign of murder and mixing with magic. Dies after Macduff beheads him.

Donalbain – son of Duncan. Fears he will also be killed after his father’s body is found. Escapes to Ireland.

Lady Macbeth – Macbeth’s wife. They have no children. LM is manipulative and difficult (unusual for time period) and eventually becomes mentally ill due to guilt. Dies by committing suicide.

Malcolm – Son of Duncan. Fears he will also be killed after his father’s body is found. Escapes to England. Raises an army with Macduff against Macbeth. He is crowned as rightful king at the end of the play.

Banquo – Macbeth’s best friend/fellow soldier. Scared of magic and not as ambitious as Macbeth. Stabbed by murderers hired by Macbeth. Told his children will be kings by witches. .

Macduff – Another thane. Suspects Macbeth killed Duncan. Family murdered by Macbeth. Raises army with Malcolm against Macbeth. Was not born of woman.

Duncan – King at the start of the play. A kind character who promotes Macbeth and thinks highly of LM. Father to Donalbain and Malcolm. Stabbed to death in sleep by Macbeth.

Witches – 3 supernatural beings that give Macbeth and Banquo various prophecies. First characters seen in the play. They plan to meet Macbeth after the battle. Not clear why they choose to reveal themselves to Macbeth. They are ugly and bearded. Associated with bad weather in the play.

Plot ACT 1 S1: Thunder and lightening. Witches appear discussing when they will meet Macbeth. S2: Duncan asks how the Battle went. Captain reports Macbeth and Banquo’s bravery/ Thane of Cawdor’s treachery. S3: Witches appear and tell Macbeth he will be Thane of Cawdor & King. Tell Banquo his children will be kings. Macbeth promoted, starts considering murder. Banquo unsure/confused. S4: Duncan praises Macbeth and Banquo. Malcom named heir. D plans to dine at Macbeth’s castle. Macbeth writes to LM S5: LM reads M’s letter. Decides M is too soft and that she wants to become manly in order to kill the king. S6: Duncan arrives. LM and M are lovely to everyone. S7: Macbeth unsure about killing D. LM arrives and calls M unmanly. She explains her plan to kill D and M agrees. ACT 2 S1: Macbeth and Banquo meet by accident in corridor. B admits to being bothered by witches. M lies and says he hasn’t thought about it. B leaves. M sees floating dagger leading him to D’s sleeping body. S2: LM waits for M to return from killing D. M comes back in an emotional state. LM angry as he ruins the plan by forgetting to leave the daggers. She takes them back and smears guards with blood to show their guilt. S3: Porter discusses alcohol, sex and the devil. Macduff arrives looking for D. They discover the body. M and LM pretend not to know and be angry/shocked. M kills guards in ‘anger’. Malcolm & Donalbain agree to run, thinking they’re unsafe. S4: Ross discusses strange behaviour of nature. Suspicions of Malcolm & Donalbain. Macduff goes home. Ross goes to see Macbeth be crowned King. ACT 3 S1: Banquo invited to dinner by LM and M. Goes out horse riding with son Fleance. M arranges to have them murdered, LM not told.

S2: M and LM start to show their guilt/doubt and feel they’re insecure. M admits to her his plan to kill Banquo and Fleance. S3: Murderers kill Banquo but Fleance escapes S4: LM and M host a banquet. Murderers arrive to tell M about Banquo/Fleance. Macbeth returns, see’s Banquo’s ghost (invisible to all but him) & starts yelling. LM makes polite excuses, saying M is ill and dismisses the party. S6: Lennox discusses Banquo’s murder. Lennox and lord discuss Macbeth’s tyranny. Says Macduff has gone to England to raise an army. ACT 4 S1: Witches meet with M. Give him 3 prophecies: beware of Macduff, none of woman born can kill him and he’s safe unti;Birnam Wood moves to Dunsinane Hill. M thinks this is impossible and is happy. S2: M has Macduff’s family murdered. S3: Malcolm and Macduff agree to go to war against Macbeth. Ross tells Macduff his family has been ma=urdered and urges Macduff to retaliate. ACT 5 S1: Lady Macbeth seen sleepwalking. S2: English army approaches the castle. S3::Macbeth shows he isn’t worried. Doctor speaks to M about LM. He isn’t bothered. S4: Malcolm talks with the English and they decide to carry tree boughs in front towards Dunsinane. S5: Macbeth is told LM is dead. M worries. Servant tells him Birnam Wood is moving. Macbeth declares he will die fighting. S6: Battle commences. S7: Macbeth fights well, kills English lord’s son. S8: Macduff emerges looking for Macbeth. S9: Malcolm enters the castle. S10: Macduff and Macbeth meet. Macduff admits to not being born of woman (born by caesarean). The 2 fight. S11: Macduff meets with Malcolm. Macduff has Macbeth’s head in his hands. Malcolm promotes everyone. Malcolm invites everyone to his coronation.

Themes •

Ambition, kingship, murder, guilt, madness, witchcraft, superstition, regicide, manipulation, gender

Key vocabulary Ambition

Tyrant

regicide

superstition

manipulation

Corruption

delusion

soliloquy

heinous

Valiant

protagonist

conscience

Macbeth – Knowledge Organiser A-PDF OFFICE TO PDF DEMO: Purchase from www.A-PDF.com to remove the watermark Plot summary Act I scene i – The three witches gather to in a thunder storm to meet Macbeth Act I scene ii – Duncan hears reports of the battle in which Macbeth proves himself a hero and also of the treachery of the Thane of Cawdor. Act I scene iii – Macbeth & Banquo meet the witches and hear the predictions that he will be Thane of Cawdor and the next king. Ross arrives to confirm that Macbeth is the new Thane of Cawdor. Act I scene iv – Duncan decides to make his son Malcolm the heir to his throne and tells Macbeth that he will visit his castle. Act I scene v – Lady Macbeth reads a letter from her husband about the events so far and makes up her mind to murder Duncan. Act I scene vi – Duncan arrives at Macbeth’s castle and is welcomed by Lady Macbeth. Act I scene vii – Macbeth decides he cannot go through with the plot but Lady Macbeth persuades him to change his mind. Act II scene i – Banquo feels uneasy about what might happen in the night. Macbeth makes his way to Duncan’s room to kill him and sees a ghostly dagger floating in the air before him. Act II scene ii – Macbeth forgets to leave the bloody daggers in Duncan’s room after the murder and Lady Macbeth is forced to take charge and put them back. Act II scene iii – The next morning Duncan’s body is discovered by Macduff; Macbeth conveniently kills the servants in pretend rage; Duncan’s sons, Malcolm & Donalbain, flee the castle. Act II scene iv – Macduff reports that suspicion for the murder has fallen on the kin’s sons; Macbeth has travelled to Scone to be crowned. Act III scene i – Macbeth is now king, but Banquo is suspicious about how the witch’s predications have come true. Macbeth arranges to have him murdered. Act III scene ii – Lady Macbeth tries to get her husband to talk to her about his plans but he refuses. Key characters Key themes Historical context Macbeth Thane of Glamis Lady Macbeth his wife Banquo Macbeth’s best friend Fleance Banquo’s son Duncan King of Scotland Malcolm Duncan’s eldest son Macduff – Thane of Fife Lady Macduff his wife Donalbain Duncan’s younger son Ross, Lennox, Angus Scottish nobles The witches – supernatural beings who predict events in the play. Hecate ruler of the witches

Ambition seen as a purely negative quality. Guilt - the play shows the terrible consequences of murdering a king. Kingship vs tyranny – Duncan and Macbeth embody the qualities of a good king and a tyrant respectively. Order vs chaos Natural order is disrupted then re-established. Fate Masculinity/feminity

Act III scene iii – Banquo is murdered but his son, Fleance, escapes. Act III scene iv – At a feast that night, Macbeth sees the ghost of Banquo. Lady Macbeth tries to calm him down but when this fails cancels the feasts and sends the courtiers away. Act III scene v – The witches discuss events so far; Hecate, the ruler of the witches, predicts his downfall. Act III scene vi – suspicion of Macbeth is growing; Macduff has left for England to rouse support against him. Act IV scene i – The witches tell Macbeth he cannot be harmed by anyone ‘born of a woman’ and that he will be safe until Birnam Wood moves to the castle at Dunsinane. Macbeth decides to murder Macduff’s family. Act IV scene ii – Macbeth’s murderers kill Lady Macduff and her children. Act IV scene iii – Macduff discovers his family’s murder and, with Malcolm, leads an army to attack Macbeth. Act V scene i – Lady Macbeth is sleep walking and trying to wash an imaginary blood spot from her hands. Act V scene ii – Malcolm’s army is at Birnam Wood and hear reports that Macbeth’s supporters are deserting him. Act V scene iii – Macbeth is besieged but puts his trust in the witches’ prophesy. Act V scene iv – Malcolm orders his army to cut down branches from Birnam Wood to disguise the number of soldiers. Act V scene v – Macbeth is told of his wife’s death and about the news that Birnam Wood seems to be approaching. He resolves to die fighting. Act V scene vi - ix – Macbeth is killed by Macduff (who reveals he was delivered by caesarean and so not properly ‘born’). Malcolm becomes the new king of Scotland and order is restored.

• Macbeth was most likely written in 1606, early in the reign of James I, who had been James VI of Scotland before he succeeded to the English throne in 1603. • Only a century earlier, England had suffered under the massive disorder of the Wars of the Roses. Civil disorder was now seen as the ultimate disaster, and also as an ungodly state. • The play pays homage to the king’s Scottish lineage. Additionally, the witches’ prophecy that Banquo will found a line of kings is a clear nod to James’s family’s claim to have descended from the historical Banquo. • The theme of bad versus good kingship, embodied by Macbeth and Duncan, respectively, would have resonated at the royal court, where James was busy developing his English version of the theory of the divine right of kings. • The play was first performed not long after the Gunpowder Plot. Shakespeare shows the murderers of a king tormented by their own guilt and driven to their doom. • It was believed that kings were appointed by ‘divine right’ and were anointed by God. To kill a king was considered the worst sin and a terrible crime. • Macbeth is a tragedy and the character of Macbeth is a tragic hero

Stylistic features and symbols Blood – a symbol of guilt and violence The supernatural – belief in witchcraft was widespread and Shakespeare uses prophesy, hallucinations, ghosts and magic to give the play a menacing, unnatural feel. Oxymoron – opposites & contradiction recur throughout the play Pathetic fallacy – unnatural events are usually echoed by unnatural weather Alliteration Blank verse – non rhyming lines written in iambic pentameter (iam= a beat du duh; pent = five) Soliloquy – where a characters speaks their thoughts aloud to the audience Monologue – a long speech by a single character Dramatic irony – when the audience knows more than a character or characters do

Key Quotations The witches: Fair is foul, and foul is fair, Hover through the fog an filthy air. (Act I, Scene i) The witches: When the battle's lost and won. (Act I, Scene i) The witches: When shall we three meet again in thunder, lightning, or in rain? When the hurlyburly 's done, When the battle 's lost and won. (Act I, Scene i) Captain: For brave Macbeth—well he deserves that name— Disdaining fortune, with his brandished steel, Which smoked with bloody execution, Like valour’s minion carved out his passage (Act I, Scene ii) Macbeth: So foul and fair a day I have not seen (Act I, Scene III) Banquo: And oftentimes, to win us to our harm, the instruments of darkness tell us truths (Act I scene iii) Macbeth: If chance will have me king, why, chance may crown me. (Act I, Scene III) Malcolm: Nothing in his life became him like the leaving it; he died as one that had been studied in his death to throw away the dearest thing he owed, as 't were a careless trifle. (Act I, Scene IV) Macbeth: Stars hide your fires let not light see my black and deep desires. (Act I, Scene IV) Lady Macbeth: Yet do I fear thy nature; It is too full o' the milk of human kindness. (Act I, Scene V) Lady Macbeth: Look like the innocent flower, but be the serpent under't. (Act I, Scene V) Lady Macbeth: Come, you spirits Tat tend on mortal thoughts, un-sex me here And fill me from the crown to the toe topfull Of direst cruelty (Act I, Scene v) Duncan: This castle hath a pleasant seat; the air Nimbly and sweetly recommends itself Unto our gentle senses. (Act I, Scene vi) Macbeth: If it were done, when 'tis done, then 'twere well It were done quickly. (Act I, Scene vii) Macbeth: I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on th’other. (Act I, Scene vii) Macbeth: I dare do all that may become a man; Who dares do more is none. (Act I, Scene vii) Lady Macbeth: Screw your courage to the sticking-place, and we’ll not fail. (Act I, Scene vii) Macbeth: False face must hide what the false heart doth know. (Act I, scene vii) Macbeth: I have no spur to prick the sides of my intent, but only vaulting ambition, which o'erleaps itself, and falls on the other. (Act I, Scene vii) Macbeth: Is this a dagger which I see before me, The handle toward my hand? (Act II, Scene I) Macbeth: Will all great Neptune's ocean wash this blood clean from my hand? No, this my hand will rather the multitudinous seas incarnadine, making the green one red. (Act II, Scene ii) Donalbain: Where we are there's daggers in men's smiles. The near in blood, The nearer bloody. (Act II, Scene iii) Banquo: Thou hast it now, King, Cawdor, Glamis, all., as the weird sisters promis’d, and I fear Thou hast play’d most foully for’t (Act III scene i) Macbeth: Only for them, and mine eternal jewel Given to the common enemy of man, To make them kings, the seed of Banquo kings! (Act III, Scene i) Lady Macbeth: What’s done is done. Macbeth: We have scorch’d the snake, not kill’d it. (Act III, Scene ii) Macbeth: O full of scorpions is my mind, dear wife! (Act III, Scene ii) Macbeth: Duncan is in his grave; After life's fitful fever he sleeps well (Act III, Scene Iii) Macbeth: I am cabin’d, cribb’d, confin’d, bound in saucy doubts and fears. (Act III, scene Iv) Macbeth: Thou canst not say I did it; never shake thy gory locks at me! (Act III, scene Iv) The witches: By the pricking of my thumbs, Something wicked this way comes. (Act IV, Scene i) The witches: Double, double toil and trouble; Fire burn, and cauldron bubble. (Act IV, Scene i) Malcolm: Angels are bright still, though the brightest fell. Though all things foul would wear the brows of grace, Yet grace must still look so. (Act IV, Scene iii) Lady Macbeth: Out, damned spot! out, I say! (Act V, Scene i). Lady Macbeth: Here’s the smell of blood still; all the perfumes of Arabia will not sweeten this little hand. (Act V, Scene i) Macbeth: I have lived long enough. My way of life Is fallen into the sear, the yellow leaf, And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have; but in their stead Curses, not loud but deep (Act V, Scene iii) Macbeth: To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. (Act V, Scene v) Macbeth: I bear a charmed life which must not yield To one of woman born. Macduff: Macduff was from his mother’s womb untimely ripp’d. (Act V, Scene viii) Malcolm: Of this dead butcher and his fiend-like queen (Act V, Scene ix)

Characters Macbeth Lady Macbeth Witches Banquo

Title character (eponymous protagonist), ambitious and ruthless despite initial loyalty, symoblises the evil within us all Defies expectations, often seen controlling her husband in the beginning, strong and ambitious, goes mad, dies Supernatural beings, prophesy, could represent conscience, clear appeal to James I (Shakespeare’s patron) Macbeth’s friend, sons prophesied to rule, killed and returns as ghost, James I could trace his lineage back to Banquo

Duncan

Good king, praises Macbeth at start, murdered in Act 2

Macduff Malcolm

Wife and children killed; kills Macbeth; born by caesarian Duncan’s son, heir to the throne, good man, flees to England and returns with an army, finally crowned Banquo’s son, represents innocence and justice, escapes the murder attempt that kills Banquo

Fleance Key Themes Fate and free will Ambition

Are Macbeth’s actions pre-determined as the witches suggest or does he make his own destiny? The Macbeths’ ambition drives the play

Acting

Macbeth’s duplicitousness, Lady Macbeth’s refusal to act the role of a traditional woman Witches, ghosts, prophecies Many conflicts throughout the play – both large and small scale Ideal kings should be honest, fair and have integrity – contrast between Macbeth and Duncan/Malcolm

Supernatural Violence Kingship

Context Scotland V Traditional enemies, united by James I, unpopular with many England English lords, play attempts to promote Scotland Plots/treason James I (a Scottish King), new to the throne of England faced many plots in his early reign (Gunpowder plot) Witchcraft James I intensely fascinated by witchcraft, terrified that they would threaten his reign Divine Right Kings were appointed by God, God’s representative on earth, of Kings James I promoted this view to help secure his reign

Plot Act 1

Macbeth and Banquo meet witches, Cawdor executed, Lady Macbeth reads letter, taunts Macbeth, Duncan arrives Act 2 Macbeth kills Duncan, Lady Macbeth helps cover up the murder, Malcolm flees, Macbeth crowned Act 3 Banquo suspects Macbeth, murder of Banquo, Fleance escapes, Macbeth haunted by Banquo’s ghost at a banquet Act 4 Witches show Macbeth future kings – sons of Banquo, Macduff’s family murdered, Malcolm says he is dishonest to test Macduff’s loyalty Act 5 Lady Macbeth sleepwalks, dies, Macduff kills Macbeth, Malcolm restored as King Dramatic/Stylistic Devices Soliloquy One character speaking to audience sharing genuine thoughts and feelings; Macbeth uses to make audience complicit Dramatic Audience knows more than characters; e.g. audience knows Duncan irony will die Tragic Flaw Key convention of tragedies, one character trait which leads to the central character’s downfall. Macbeth’s is ambition. Hubris Intense pride – links to Macbeth and Lady Macbeth Pathetic Fallacy Rhyme

Play opens in the middle of storm – reflects how volatile the politics of Scotland (and England) was Used by the witches in their chants – links to supernatural in the play, many soliloquys end with rhyming couplets to emphasise key ideas. Symbolism Dagger, battle Juxtaposition Initially Macbeth and Lady Macbeth, Act 1 Scene 5 and Act 1 Scene 6 Antithesis People or things that oppose each other, Duncan/Malcolm vs Macbeth in Kingship, Macbeth’s outward allegiance vs inner ambition Motifs Light and Both Macbeth and Lady Macbeth talk about how they hope that night dark will protect them, Duncan’s murder happens at night Children Often referenced throughout the play, Lady Macbeth is barren, Macbeth murders Duncan’s children Blood Opening battle, Macbeth’s hand after murder, Lady Macbeth’s visions of blood later on – links to guilt Birds Raven, Magpie, Choughs and Rooks – bad omen, Flacon (Duncan) vs Owl (Macbeth), Owl wins

Key Quotations Spoken by: Quotation: Fair is foul, and foul is fair, Hover through the fog and filthy air. (Act I, Scene i) The Witches

Techniques Rhyme Pathetic Fallacy

Context First scene of the play Introduces idea of subverting the natural order

Allusion to witches’ lines

Just before Macbeth meets the witches for the first time

Motif: Light and dark Gender roles Simile and metaphor Imperatives

Macbeth learns of Duncan naming Malcolm as heir

Captain

For brave Macbeth—well he deserves that name (Act 1, Scene ii)

Macbeth

So foul and fair a day I have not seen (Act I, Scene III)

Banquo

And oftentimes, to win us to our harm, the instruments of darkness tell us truths (Act I scene iii)

Macbeth

Stars hide your fires let not light see my black and deep desires. (Act I, Scene IV)

Lady Macbeth

Yet do I fear thy nature; It is too full o' the milk of human kindness. (Act I, Scene V)

Lady Macbeth

Look like the innocent flower, but be the serpent under't. (Act I, Scene V)

Lady Macbeth

un-sex me here (Act I, Scene V)

Macbeth Macbeth Macbeth

If it were done, when 'tis done, then 'twere well It were done quickly. (Act I, Scene vii)

Lady Macbeth

What’s done is done. (Act III, Scene ii)

Macbeth

O full of scorpions is my mind, dear wife! (Act III, Scene ii)

Metaphors

Macbeth

Duncan is in his grave; After life's fitful fever he sleeps well (Act III, Scene ii)

Motif: Sleep

The Witches

By the pricking of my thumbs, Something wicked this way comes. (Act IV, Scene i)

Lady Macbeth

Out, damned spot! out, I say! (Act V, Scene i).

Rhyme Imperatives

Lady Macbeth

Here’s the smell of blood still; all the perfumes of Arabia will not sweeten this little hand. (Act V, Scene i)

Macbeth

It is a tale Told by an idiot, full of sound and fury, Signifying nothing. (Act V, Scene v)

False face must hide what the false heart doth know. (Act I, scene vii) Will all great Neptune's ocean wash this blood clean from my hand (Act II, Scene ii)

Hyperbole Motif: Blood

Allusion to Macbeth’s ‘Neptune’

Establishes the audience’s view of Macbeth before we meet him on stage Makes his fall from grace more shocking

Just after Banquo and Macbeth meet the witches

Lady Macbeth has just read Macbeth’s letter and started to plot Lady Macbeth advises Macbeth about how to behave before Duncan arrives at the castle Lady Macbeth calls on dark forces to support her in completing evil acts Macbeth falters in his resolve to kill Duncan Macbeth has been convinced again by Lady Macbeth Macbeth has killed Duncan and immediately feels guilt Macbeth shares his guilt with his wife and that he has planned Duncan’s murder. Macbeth disucsses his guilt/paranoia. He has killed Duncan and ordered Banquo and Fleance’s. Macbeth disucsses his guilt/paranoia. He has killed Duncan and ordered Banquo and Fleance’s. Macbeth returns to the witches Sleepwalking scene. Lady Macbeth’s guilt overcomes. This is the last time she is seen on stage. Sleepwalking scene. Lady Macbeth’s guilt overcomes. This is the last time she is seen on stage. Final scene.

Macbeth SUPER Knowledge Organiser: ‘’I have no spur to prick the sides of my intent, but only vaulting ambition..’’ Grades 8/9 Vaulting Vocabulary Divine providence Metaphysical Moral darkness Inherent Malevolence ontological Nihilistic Tyrannical Enigmatic Vulgar Convulsive Ambiguous Futile Ambivalence Garish

Macbeth: a tragic hero. The classical philosopher Aristotle argued that tragic heroes should follow certain conventions. They must be ‘highly renowned’ but have a flaw (harmatia) that leads to a reversal of fortune (peripeteia). Often the flaw is linked to excessive pride (hubris). Watching the hero’s tragic fall causes the audience to feel pity and fear (catharsis).

Christian Imagery in Macbeth This is a play about a man who is anguished by knowing that he has bartered the gold of men’s esteem for the tinsel of sovereignty. Victor Kiernan Macbeth is a play saturated with religious situations, ideas and images Macbeth is a Doomsday play which draws heavily on biblical imagery Victor Kiernan The Weird Sisters As soon as Macbeth and Banquo enter the witches immediately assume a loftier tone, their predictions then have the obscure brevity, the majestic solemnity of oracles, Soliloquy such as have every spread terror among Allusion mortals. A.W. Schlegel Paradox Babes Aside Cyclical Macbeth is the great play of babies. Lady rhyme Motif Macbeth commits the first atrocity when Climatic moment Verse/prose she boasts of her ability to dash out a Metre: iamb, trochee, Eponymous baby’s brains. Banquo is a source of babes, Dramatic irony spondee, pyrrhic Duncan is a father too, perhaps the most powerful symbol in the tragedy is that of Hypermetric syllable Animal imagery the naked babe. Michael Long Plosive Microcosm Research more theories online: Lexical Antithesis field/semantic field http://www.inquiriesjournal.com/articles/ Foreshadowing 67/a-brief-look-at-feminism-inPathetic fallacy shakespeares-macbeth

Reader response The reader is caught between… Character development By the close of the play/poem/novel the once … Peeling away the layers of has developed into... characterisation Reader positioning On the exterior…, yet on the interior (The writer) positions the reader/audience in we can infer…. favour of /against _____ by… Character motives Deepening analysis ________is motivated not only by… At first glance…; however, on closer inspection…. but also by… Proposing a tentative idea Noting subtleties Perhaps, (writer’s name) was hinting that … Here, the writer cleverly…. Contrasting alternative viewpoints Some readers might propose that…; other readers, however, might argue… Identifying the main thing The most important word/sentence/idea/chapter/moment is ____ because….

Macbeth was first performed in 1606, likely with King James I in the audience. Shakespeare may have wanted to please the King through his play’s representation of the dangers of challenging monarchy. James I also claimed to believe that he was a descendant of Banquo and Fleance. James I promoted the concept of the divine right of kings throughout his reign King James was nearly assassinated in 1600 – thoroughly condemned regicide Belief in the supernatural was far more prevalent than it is today. King James I wrote a book on the subject - ‘Daemonologie’ (1596) - in which he called witches ‘detestable slaves of the Devill’ Jacobean society was highly patriarchal. Women were typically regarded as emotionally and intellectually weaker than men. Under James I as both King and Head of the Church, the country remained strictly Protestant. The Jacobean public was generally god-fearing, interpreting religious concepts such as heaven and hell literally.

1:1 The Witches are introduced

1:2 Duncan talks about the battle

1:3 Macbeth meets the Witches who tell him he’ll be King. So foul and fair a day I have not seen 1:3

AO2: Language, structure and form analysis Metaphors are when one thing is said to be something else. Metaphors about nature are commonly used, especially ones about snakes. Similes are when one thing is like something else. Similes are often used as they imply that things don’t look or seem like they should.

Hyperboles are examples of excessive exaggeration. Duncan is prone to hyperbole, which hints at his naivety.

Personification is describing something as if it were a person. The earth is personified regularly to show that God is angered by Macbeth

Adjectives are describing words and can often indicate the attitude of one character about an another. Examples include: ‘brave’ Macbeth, ‘judicious’ Macduff, ‘gracious’ Duncan, and (ironically) the ‘honour’d’ Lady Macbeth.

Irony is found in a situation which is strange or interesting because it’s the opposite of expectations. There are plenty of interesting and subtle links between characters throughout. For example: LM telling M not to think about the murder of D, or else he’ll go mad, or the porter pretending to be the gatekeeper to Hell. Imperatives command someone to do something. Lady Macbeth’s language is full of imperatives as she takes control at the start. A paradox is a statement which contradicts itself. The whole play is based on the paradox of ‘fair is foul, and foul is fair’, as everything is not as it seems. Euphony is an overwhelming use of pleasing sounds and words. Macbeth and his castle are initially presented as being overwhelmingly positive by Duncan; an ironic misinterpretation. Cacophony is an excessive use of harsh sounds and words. The Witches’ speech is sometimes jarring and unpleasant, to emphasise how evil they are. Sibilance is an alliterated ‘S’ sound. It can resemble the hissing of a snake and can often be found in speeches by M and LM. Euphemisms make something seem better than what it is. Using euphemisms can represent denial, or that someone is unwilling to accept the reality of a situation. The play has a cyclical structure. Macbeth begins and ends in battle (ironically with a beheading too).

5:9 Malcolm becomes King

Juxtaposition is where two ideas are contrasted in the same scene or situation. Macbeth is full of contrasts, including the juxtaposition of Macbeth and Banquo’s reactions to the Witches.

Rhetorical questions, or questions that do not require answers, can indicate power in conversations. Lady Macbeth frequently uses them in 1:7 to assert her authority over her husband. Repetition, when an idea or quote is repeated, can be used to indicate power, or suggest confusion. Repeated questions, such as Macbeth in 1:3, imply weakness, as he doesn't’t have the answers. Dramatic irony is when an audience has more information or knows more than a character on the stage. It is frequently used to build tension, especially at the start where the audience know Macbeth’s plan to kill Duncan yet they helplessly watch Duncan walk to his death in 1:6.

5:8 Macduff kills Macbeth

I am in blood stepp’d in so far …3:4 Life’s but a walking shadow, a poor player… 5:5 Fair is foul, and foul is fair 1:1

A motif is a reoccurring idea in a text and often links different parts of a text together. Recurrent motifs in Macbeth include plants, birds and storms. These natural motifs are often used to imply that nature has been disturbed, and God is not happy.

Foreshadowing is when the audience is given a clue about what is coming up later on. Macbeth is full of foreshadowing, albeit subtle. Examples include: Macbeth’s violence in 1:2 and Lady Macbeth’s isolation in 1:7.

When examining dialogue, look out for interruptions by other characters. This can be used to assert dominance.

art thou but a dagger of the mind 2:1 O, full of Scorpions is my mind, dear wife! 3:2

Exclamative sentences, or sentences ending in an exclamation mark (!), can be used to show extreme emotions, especially if they are used frequently in a short speech. Macduff’s immediate reaction to Duncan’s death, in 2:3, is a good example of excessive exclamatives representing overwhelming emotion.

Monosyllabic language is the use of one syllable words. It is often used to show extreme emotions, such as insanity, anger, grief or paranoia.

You secret, black, and midnight hags! 4:1 Loves for his own ends, not for you 3:5 I conjure you…answer me to what I ask you 4:1

Stage Directions direct the actors throughout the scenes. Often they can be used to infer a mood, such as celebration (hautboys) or tension (thunder). Thunder often accompanies the Witches and can be viewed as a pathetic fallacy, to indicate the trouble ahead..

Stay, you imperfect speakers, tell me more 1:3 I have begun to plant thee 1:4 whom I built absolute trust 1:4 That summons thee to heaven or to hell 2:1

Entrances and exits on the stage are also worth noting. They can sometimes emphasise certain ideas, such as Lady Macbeth’s isolation as she enters the stage alone, to face Duncan and his attendants in 1:6. Soliloquies are speeches by characters when they are either alone on the stage or when no-one else can hear them. Effectively, an audience is able to find out exactly what that character is truly feeling. Asides are sections of speech where characters speak only to themselves (and the audience), and can reveal their true thoughts and feelings. Macbeth begins to plot against Duncan in an aside in 1:4. Sentence lengths and punctuation can give a good indication of the emotions of a character. Upon hearing about Duncan’s death in 2:3, most characters use short sentences to show their shock (even LM manages to). Macbeth, meanwhile uses longer sentences, which hints that he is not surprised by the death. Also, by disrupting the rhythm of the blank verse, Shakespeare can further emphasise emotions.

5:5&7 Lady Macbeth kills herself and Macbeth kills young Siward.

1:4 Macbeth starts to think about killing Duncan.

broke ope The Lord’s anointed temple 2:3 After life’s fitful fever he sleeps well 3:2 Symbolism: Light = good Dark = evil Nature = correct order Health / disease = state of Scotland Blood = guilt Water = innocence Masculinity = aggression / courage

5:2-4&6 The English army advances, disguised as Birnam Wood

Blank verse: - Used by majority of characters - Lines don’t usually rhyme - 10 or 11 syllables per line - Typically iambic pentameter - Regular rhythm of the lines = characters sound well spoken Prose - Lower class characters use prose - Speech sounds more natural with no set rhythm - Porter speaks in prose - Lady Macbeth speaks in prose when she sleepwalks = insanity. Rhyme - Sets the witches apart as evil and unnatural - Witches use trochaic tetrameter -Sometimes rhyme is used for emphasis by other characters

5:1 Lady Macbeth sleepwalks

1:5&6 Lady Macbeth learns of the Witches’ prophecy. Duncan arrives at Macbeth’s castle

Unsex me here 1:5

Characters Macbeth

1:7 Lady Macbeth persuades Macbeth to kill Duncan

Lady Macbeth

- Easily manipulated - Fair but foul - Corrupted by ambition - Violent throughout - Final downfall = hubris

- Cruel, ambitious and ruthless - Initially in control - Weaker than she thinks? - Insomniac - Insane with guilt

The Witches

Banquo

- Deliberately vague - Instruments of fate - Enjoy causing trouble and chaos - Manipulate Macbeth’s ambition - One entity?

- Macbeth’s foil - Macbeth obsessed by his prophecy - Loyal and noble - Terrifying ghost - Sceptical of Witches & Macbeth

Duncan

The Macduffs

- Macbeth’s antithesis as King - Popular and fair - Emotional - Far too trusting - His sons are good men

- Macbeth’s antithesis as a man - Wife contrasts LM - Country > family - Loyal and strong - Sirrah’s death = ruthless Macbeth

Supernatural

Fate vs Free Will

Look like the innocent flower, but be the serpent under’t 1:5 dash’d the brains out 1:7 …but I shame to wear a heart so white 2:2 Out, damned spot! out, I say! 5:1 Lesser than Macbeth, and greater 1:3 I fear thou play’dst most foully for’t 3:1 Our fears in Banquo stick deep 3:1 Take any shape but that 3:4 blood-bolter’d Banquo smiles upon me 4:1 The repetition, in a woman’s ear, would murder as it fell 2:3 No, cousin, I’ll to Fife 2:4 …to do harm is often laudable 4:2 (LM) But I must also feel it as a man 4:3 …from his mother’s womb untimely ripped 5:8

Themes - Witches are deliberately confusing

- Vision of dagger - B’s ghost = guilt - Apparitions and prophecies - LM’s bloody hands

Reality vs appearance

- M’s choices? - M doomed from the start? - M believes his fate - B doesn’t act on prophecy - M loses control of life

- ‘Fair is foul’ - Hiding true thoughts - Harder to hide (LM) - Too trusting of appearances? (D) - Audience see ‘true’ characters

Good vs Evil

Loyalty/Betrayal

Ambition

- Motivates M & LM - M’s fatal flaw - Corrupts M & LM - Macduff ambitious for Scotland - Banquo doesn’t act on ambition

4:2&3 Macbeth has Macduff’s wife and son killed. Malcolm tests Macduff and Macduff learns of the murders

- M initially good - Women = evil? - Constant battle - M overcome by evil desires - Religious conflict (Heaven and Hell)

2:1 Macbeth goes to kill Duncan

- B & Macduff loyal - M & LM pretend to be loyal - Loyalty to Scotland - Betraying God - Macbeth doesn’t earn loyalty as King

4:1 Macbeth visits the Witches, and is shown three apparitions that predict his future

2:2 Lady Macbeth covers up the murder 2:3 Macduff finds Duncan’s body

2:4 An old man talks about weird events. Macbeth is crowned King

3:1-3 Macbeth realises that Banquo’s a threat so has him killed 3:4 Macbeth sees Banquo’s ghost

3:5 Hecate plans to ruin Macbeth 3:6 Lennox is told of a plot to overthrow Macbeth

A-PDF OFFICE TO PDF DEMO: Purchase from www.A-PDF.com to remove the watermark Character Plot (Acts) 1

This Act opens with the three Weird Sisters. A war is taking place between Scotland and Norway; Scotland is victorious due to the valiant efforts of Macbeth. The traitorous Thane of Cawdor is captured and executed. King Duncan decides to reward Macbeth with the title of Thane of Cawdor. Before he is given the title, the three Weird Sisters confront Macbeth and Banquo. They tell Macbeth that he will become Thane of Cawdor and eventually king. Macbeth soon learns of his new title which fulfils part of the prophesy and sends word to his wife. Duncan plans on staying the night at Macbeth’s castle in Inverness. Lady Macbeth receives the news and immediately plots the death of King Duncan so her husband will be king. Lady Macbeth manipulates Macbeth into following her plans; he reluctantly agrees to murder Duncan. By the end of Act 1, Macbeth is determined to follow through with the plan. Macbeth has some doubts (and visions) but he talks himself into following through with the murder. Macbeth is so scared that Lady Macbeth must finish the rest of the plan by wiping blood on the drunk guards. The next morning, Macduff and Lennox arrive at Macbeth’s and Macduff discovers the dead body of King Duncan. The guards are immediately suspects and Macbeth kills them. Malcolm and Donaldbain, the King’s sons, flee the castle because they are afraid that they will be blamed for the murder of their father. Banquo begins to suspect Macbeth for the murder of King Duncan; Macbeth feels that Banquo will reveal that it was he that killed the King. Therefore, Macbeth sends out some men to murder Banquo and his son, Fleance. Banquo is murdered but Fleance escapes. Macbeth, Lady Macbeth, Lennox, Ross and other lords attend a banquet. The ghost of Banquo presents itself to Macbeth who begins to rant and rave which makes the other guests uneasy. Lady Macbeth tries to cover up the situation by saying that Macbeth is prone to fits. By the end of the Act we learn that Macduff has not attended the banquet because he has gone to England looking for help because he is suspicious of Macbeth. Macbeth confronts the three Weird Sisters and they show him more visions. The visions lead Macbeth to believe that he cannot be killed by any man which gives him a false sense of security. He then plans to send murderers to the castle of Macduff (who is in England) in order to kill his family. Meanwhile, Macduff is in England begging Malcolm to return to Scotland to seize the throne from Macbeth who has become a tyrant. Malcolm tests Macduff’s loyalty to Scotland and himself; once satisfied with Macduff’s responses he agrees to wage war against Macbeth. Malcolm’s uncle, Siward, will also aid the attack. Lady Macbeth has gone mad with guilt over the murders. The once strong and ruthless woman becomes an hysterical somnambulist and doctors are unable to help her. Some of the Scottish lords discuss Macbeth’s state of mind and come to the conclusion that they will help Malcolm and Macduff fight against Macbeth. Of course Macbeth isn’t really concerned because he believes the prophecy ensures that he cannot be killed by any man born of woman. Macbeth is soon confronted by Macduff at Dunsinane; Macbeth learns that Macduff was ripped from his mother and not born naturally. Macbeth and Macduff fight and the natural order is restored by the end of the play.

Macbeth

The eponymous protagonist is both ambitious and ruthless. He transforms from loyal warrior to paranoid, tyrannical king.

Lady Macbeth

A strong, ambitious and manipulative woman who defies expectations. Persuasive and ruthless.

The Witches / Weird Sisters

Supernatural and manipulative beings who seem to be able to predict the future. Unearthly and omniscient.

Banquo

Macbeth’s close friend and ally is astute and loyal. Macbeth sees him as a threat. Virtuous and insightful.

Duncan

King of Scotland; a strong and respected leader.

Macduff

A noble soldier who is loyal to Duncan and is suspicious of Macbeth.

Malcolm

Duncan’s son and next in line to the throne. Dignified and clever.

Themes Ambition

‘Macbeth’ is a play about ambition run amok. The witches’ prophecies spur both Macbeth and Lady Macbeth to action but the witches never make Macbeth or his wife do anything; they act on their own to fulfil their deepest desires and ambitions. Both Macbeth and Lady Macbeth want to be great and powerful, and sacrifice their morals to achieve that goal.

Order and Disorder

The play subverts the natural order of the world. Macbeth’s actions are based on a supernatural belief in a prophecy. It depicts an anarchic world: Macbeth inverts the order of royal succession; his wife inverts the patriarchal hierarchy; the unnatural world disrupts the natural. The disruption underpins the conflict that is not only external and violent but internal as Macbeth and his wife come to terms with what they’ve done.

Masculinity, femininity and identity

Throughout the play, characters discuss or debate the idea of manhood: Lady Macbeth challenges Macbeth when he decides not to kill Duncan, Lady Macduff questions Macduff’s decision to go to England etc. Through these challenges, ‘Macbeth’ questions and examines manhood itself. Does a true man take what he wants no matter what it is? Or does a real man have the strength to restrain his desires? Lady Macbeth subverts the expectation of what it is to be a woman; she rejects her womanhood and bargains with darkness.

Kingship and tyranny

In the play, Duncan is always referred to as a ‘king’ while Macbeth soon becomes known as the ‘tyrant’. In Act 4, scene 3 Malcolm pretends that he would make an even worse king than Macbeth. He tells Macduff of his reproachable qualities—among them a thirst for personal power and a violent temperament. Malcolm says, ‘The king-becoming graces / [are] justice, verity, temp’rance, stableness, / Bounty, perseverance, mercy, [and] lowliness” (4.3.92–93). The model king, then, offers the kingdom an embodiment of order and justice, but also comfort and affection. Under him, subjects are rewarded according to their merits, as when Duncan makes Macbeth Thane of Cawdor after Macbeth’s victory over the invaders. Most importantly, the king must be loyal to Scotland above his own interests. Macbeth, by contrast, brings only chaos to Scotland—symbolized in the bad weather and bizarre supernatural events—and offers no real justice, only a habit of capriciously murdering those he sees as a threat. As the embodiment of tyranny, he must be overcome by Malcolm so that Scotland can have a true king once more.

Appearance and reality

Appearances are deceptive in the play and some characters trust appearances too much. Duncan trusts the wrong men with disastrous consequences, Macbeth trusts the witches and Lady Macbeth manipulates her husband’s trust. This fine line between appearance and reality represents the line between good and evil.

Context (Written 1606) Macbeth. The plot is partly based on fact. Macbeth was a real 11th Century king who reigned Scotland from 1040-1057. Shakespeare’s version of the story originates from the Chronicles of Holinshed (a well known historian). The play was most likely written in 1606 – the year after the Gunpowder Plot of 1605 – and reflects the insecurities of Jacobean politics. King James I of England (and VI of Scotland) came to the throne in 1603 following the death of Queen Elizabeth I. The play pays homage to the king’s Scottish lineage. The witches’ prophecy that Banquo will found a line of kings is a clear nod to James’ family’s claim to have descended from the historical Banquo. While King of Scotland, James VI became utterly convinced about the reality of witchcraft and its great danger to him leading to trials that begin in 1591. Only a century before Macbeth was written, England had suffered under the massive disorder of the Wars of the Roses. Civil disorder was now seen as the ultimate disaster and also an ungodly state. The Great Chain of Being was a strict religious hierarchical structure of all matter and life which was believed to have been decreed by God. This idea dominated Elizabethan beliefs. The chain starts from God and progresses downward to angels, demons (fallen/renegade angels), stars, moon, kings, princes, nobles, commoners, wild animals, domesticated animals, trees, other plants, precious stones, precious metals, and other minerals. The Divine Right of Kings says that a monarch is not subject to earthly authority and that they have the right to rule directly from the will of God. It implies that only God can judge an unjust king and that any attempt to depose, dethrone or restrict his powers runs contrary to the will of God and may constitute a sacrilegious act. The action of killing a king is called regicide. Shakespearean Tragedy. Macbeth is one of Shakespeare’s tragedies and follows specific conventions. The climax must end in a tremendous catastrophe involving the death of the main character; the character’s death is caused by their own flaw(s) (hamartia) yet the character has something the audience can identify with.

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1:1 The Witches are introduced

1:2 Duncan talks about the battle

1:3 Macbeth meets the Witches who tell him he’ll be King. So foul and fair a day I have not seen 1:3

Hyperboles are examples of excessive exaggeration. Duncan is prone to hyperbole, which hints at his naivety.

Personification is describing something as if it were a person. The earth is personified regularly to show that God is angered by Macbeth

The play has a cyclical structure. Macbeth begins and ends in battle (ironically with a beheading too).

5:9 Malcolm becomes King

Juxtaposition is where two ideas are contrasted in the same scene or situation. Macbeth is full of contrasts, including the juxtaposition of Macbeth and Banquo’s reactions to the Witches.

5:8 Macduff kills Macbeth

I am in blood stepp’d in so far …3:4 Life’s but a walking shadow, a poor player… 5:5 Fair is foul, and foul is fair 1:1

When examining dialogue, look out for interruptions by other characters. This can be used to assert dominance.

art thou but a dagger of the mind 2:1 O, full of Scorpions is my mind, dear wife! 3:2

Monosyllabic language is the use of one syllable words. It is often used to show extreme emotions, such as insanity, anger, grief or paranoia.

You secret, black, and midnight hags! 4:1 Loves for his own ends, not for you 3:5 I conjure you…answer me to what I ask you 4:1

Stay, you imperfect speakers, tell me more 1:3 I have begun to plant thee 1:4 whom I built absolute trust 1:4 That summons thee to heaven or to hell 2:1

5:5&7 Lady Macbeth kills herself and Macbeth kills young Siward.

1:4 Macbeth starts to think about killing Duncan.

5:2-4&6 The English army advances, disguised as Birnam Wood

5:1 Lady Macbeth sleepwalks

1:5&6 Lady Macbeth learns of the Witches’ prophecy. Duncan arrives at Macbeth’s castle

1:7 Lady Macbeth persuades Macbeth to kill Duncan Unsex me here 1:5

Characters

Look like the innocent flower, but be the serpent under’t 1:5

Macbeth

Lady Macbeth

- Easily manipulated - Fair but foul - Corrupted by ambition - Violent throughout - Final downfall = hubris

- Cruel, ambitious and ruthless - Initially in control - Weaker than she thinks? - Insomniac - Insane with guilt

The Witches

Banquo

- Deliberately vague - Instruments of fate - Enjoy causing trouble and chaos - Manipulate Macbeth’s ambition - One entity?

- Macbeth’s foil - Macbeth obsessed by his prophecy - Loyal and noble - Terrifying ghost - Sceptical of Witches & Macbeth

Duncan

The Macduffs

- Macbeth’s antithesis as King - Popular and fair - Emotional - Far too trusting - His sons are good men

- Macbeth’s antithesis as a man - Wife contrasts LM - Country > family - Loyal and strong - Sirrah’s death = ruthless Macbeth

Supernatural

Fate vs Free Will

Reality vs appearance

- Witches are deliberately confusing

- M’s choices? - M doomed from the start? - M believes his fate - B doesn’t act on prophecy - M loses control of life

- ‘Fair is foul’ - Hiding true thoughts - Harder to hide (LM) - Too trusting of appearances? (D) - Audience see ‘true’ characters

Ambition

Good vs Evil

Loyalty/Betrayal

- Motivates M & LM - M’s fatal flaw - Corrupts M & LM - Macduff ambitious for Scotland - Banquo doesn’t act on ambition

- M initially good - Women = evil? - Constant battle - M overcome by evil desires - Religious conflict (Heaven and Hell)

- B & Macduff loyal - M & LM pretend to be loyal - Loyalty to Scotland - Betraying God - Macbeth doesn’t earn loyalty as King

dash’d the brains out 1:7 …but I shame to wear a heart so white 2:2 Out, damned spot! out, I say! 5:1 Lesser than Macbeth, and greater 1:3 I fear thou play’dst most foully for’t 3:1 Our fears in Banquo stick deep 3:1 Take any shape but that 3:4 blood-bolter’d Banquo smiles upon me 4:1 The repetition, in a woman’s ear, would murder as it fell 2:3 No, cousin, I’ll to Fife 2:4 …to do harm is often laudable 4:2 (LM) But I must also feel it as a man 4:3 …from his mother’s womb untimely ripped 5:8

Themes

- Vision of dagger - B’s ghost = guilt - Apparitions and prophecies - LM’s bloody hands

4:2&3 Macbeth has Macduff’s wife and son killed. Malcolm tests Macduff and Macduff learns of the murders

2:1 Macbeth goes to kill Duncan

4:1 Macbeth visits the Witches, and is shown three apparitions that predict his future

2:2 Lady Macbeth covers up the murder 2:3 Macduff finds Duncan’s body

2:4 An old man talks about weird events. Macbeth is crowned King

3:1-3 Macbeth realises that Banquo’s a threat so has him killed 3:4 Macbeth sees Banquo’s ghost

3:5 Hecate plans to ruin Macbeth 3:6 Lennox is told of a plot to overthrow Macbeth

Key Quotations A-PDF OFFICE TO PDF DEMO: Purchase from www.A-PDF.com to remove the watermark MODERNISM Definition: Modernism refers to the broad movement in Western arts and literature that gathered pace from around 1850, and is characterised by a deliberate rejection of the styles of the past; emphasising instead innovation and experimentation in forms, materials and techniques in order to create artworks that better reflected modern society.

Key Novelists Djuna Barnes – 1892-1982. Rider, Nightwood. Ezra Pound – 1895-1972. “The Cantos” – helped Eliot with “The Wasteland”. Gertrude Stein – 1874-1946. The Making of Americans. D.H. Lawrence – 1885-1930. Sons and Lovers, Women in Love, Lady Chatterley’s Lover. Marcel Proust – 1871-1922. In Search of Lost Time. James Joyce – 1882-1941. A Portrait of the Artist as a Young Man; Dubliners; Ulysses. Joseph Conrad – 1857-1924. Heart of Darkness, Lord Jim, The Secret Agent. Dorothy Richardson – 1873-1957. The Pilgrimage Sequence. Virginia Woolf – 1882-1941. Mrs Dalloway; To a Lighthouse; Orlando; To a Lighthouse.

“What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images” T.S. Eliot, Poet and Literary Critic. “The Wasteland”. “God is dead”. Friedrich Nietzsche, Philosopher Thus Spoke Zarathustra. “Make it new!” Ezra Pound, Poet. “On or about December 1910 human character changed. Relations between masters and servants, husbands and wives, parents and children shifted and when human relations change there is at the same time a change in religion, conduct, politics and literature”. Virginia Woolf, Novelist and Publisher.

Key Terminology Nihilism: the felling of loss which comes as a consequence of society’s devaluing of religion. Stream of consciousness: a narrative mode or device that depicts the many different and often disconnected thoughts and feelings which pass through the mind. Free indirect style: a mode of narration in which the narrative voice mimics the tone and manner of a character. Self-consciousness: many artists in the modernist period began to pay a lot more attention to the form of their art; novelists often wondered what it was to write a novel.

Social and Historical Context 1. 2. 3. 4. 5. 1.

1. 2. 3. 4. 5. 6. 7.

1. 2. 3. 4. 5. 6. 1. 2. 3. 4. 5. 6. 7.

England ruled by Elisabeth I “the Virgin Queen”. Depictions of strong and resourceful females are common 1599: Christian country riven by split between Catholic and Protestant division after Henry VIII A time of regular plague in the large cities A time of adventure and exploration as English sailors such as Drake sailed to discover new lands 1596: Shakespeare’s son (Hamnet) died Form A mixture of Prose and Iambic Pentameter. The verse is generally used for heightened emotion such as Love and Hate. 5 units of unstressed/stressed syllables in each line u/u/u/u/u/ (pink panther) Genre Comedy: based on traditional Roman comic plots in which a pair of lovers are tricked into separation and overcome their foes to marry at the end of the play. Shakespeare weaves 2 plots into this model. Themes Love: the tension between Courtly Love and Romantic Love and the male perception of love Honour: Linked to Courtly Love, Honour as the driving force behind behaviour. Honour is linked to the idea of Patronage Noting: The pun on the title and 16C pronunciation. Key to the play is the inability of characters to “note” what is occurring. Nothing also carries overtones of sexual innuendo (No Thing = vagina) and the more obvious connotation of little - ‘a storm in a teacup’ Gender Roles: Treatment of women within and outside marriage. Social mobility: As part of the comic tradition the tangles in the plot are undone by the lower classes. Shakespeare may use Dogberry and Don Pedro to point at the comparative foolishness, arrogance and complacency of the nobles in Elisabeth’s court. Deceit: Part of the comic form, Deceit can be seen both as malicious and ‘innocent’ in this play. Friendship: often set against honour in the later sections of the play – Benedick shows his increased maturity when he places Hero’s honour over his friendships in 4.1 Repetitive Imagery Clothing: Bea: “Your Grace is too costly to wear every day” 2.1 Disease: Ben: “She would infect to the North Star” 2.1 Cuckoldry DP: “But when shall we see the savage bull’s horns on the sensible Benedick’s head?” 5.1 Animals: DJ: “A very forward March Chick” 1.3 Sexual Innuendo: Ben: “ I will… die in your lap” 5.2 and many, many more Food: ‘I will not endure my Lady Tongue’ 2.1 Key Quotations

14. 15.

‘I pray you, is Signor Montanto returned from the wars or no?’ Bea 1.1 sexual innuendo and beginning of her ‘skirmish of wit’ with the messenger ‘Can the world buy such a jewel?’ Claudio 1.1 Noting of Hero. Male dominance – ownership. ‘thou wilt needs thrust thy neck in a yoke’ Ben 1.1 Views marriage is to be trapped with someone else. ‘Never came trouble to my house in the likeness of your grace’ Leo 1.1 Welcoming DP into his house. obsequious. “I will break with her… thou shalt have her” DP 1.1 Establishes his role as marriage broker and patron of Claudio. Stakes his honour on this. ‘it must not be denied that I am a plain dealing villain’ DJ 1.3 Don john establishing act of character. “He is the prince’s jester” Beatrice 2.1 – Using wit to insult Benedick, connotations of being a fool, idiotic – insult because it implies ownership by DP “Not till God make men of some other mettle than earth” Beatrice 2.1 – Relating to the theme of marriage and how she despises men “See me at her chamber window, hear me call Margaret Hero, hear Margaret call me Claudio.” Boracchio 2.2 – Relates to deception- B is the architect of the plot “That your niece Beatrice was in love with Signor Benedick?” Don Pedro 2.3 – Relates to both love and deception –begins the ‘Gulling’ of Ben “For I will be horribly in love with her” Benedick 2.3 – Relates to love - high passion. Oxymoron? “Rich she shall be… her hair shall be of what colour it please God…” Benedick 2.3 – Benedick looking for the perfect woman, relates to male dominance ‘Taming my wild heart to thy loving hand’- Bea 3.1 – The image comes from animal husbandry and suggests the female as a secondry partner in the relationship ‘Even she- Leonato’s Hero, your Hero, every man’s Hero’ 3.2 DJ uses anaphora to build up his disgust at Hero ‘…I will shame her’- Claudio 3.2 A swift decision based on very poor evidence. Theme of Honour

16.

‘’I have to night wooed Margret’’- Boraccio 3.3 The plot is revealed to the Guard. Boracchio is drunk and boastful

17. 18.

‘There thou prick’st her with a thistle’ – Hero 3.4. Hero, silent in the company of men, leads witty and sexualised banter with her serving women ‘’… Our watch, sir, have indeed comprehended two auspicious persons’- 3.5 Dogberry and malapropisms will allow for dramatic irony to increase in Acts 4 &5 “I do love nothing in the world as well as you” Act 4 scene 1, change of character in Benedick. He admits it first “Griev’d I , I had one, chid I for that frugal nature’s frame” Leo 4.1 In his grief and anger, Leonato reflect son the fact he has only a single daughter – self pity. “By noting of the lady, I have mark’d a thousand blushing apparitions” Friar 4.1 We see noting and misnoting -The Friar is objective in his study and takes the time to note the behaviour of Hero and to consider a range of possibilities. “There Leonato, take her back again. Give not this rotten orange to your friend” –Claudio 4.1 Image (Food) from everyday life – oranges were very rare and valuable – imagine the disappointment in uncovering a rotten one. “ Kill Claudio” “ Ha! Not for the wide world” – 4.1 Bea asserts Honour. Ben asserts Friendship. NB he does challenge Claudio “Away. You are an ass; you are an ass” Act 4 scene 2, Conrad using cruel words to Dogberry. The humour is in the truth of the accusation and the irony in the fact that he, a ‘gentleman’ has been caught by an ‘ass’

8. 9. 10. 11. 12. 13.

19. 20. 21. 22. 23. 24.

25. 26. 27. 28. 29. 30.

“I jest not” Ben 5.1 in signalling his intention to challenge Claudio Ben refers back ot his role as the ‘Prince’s Jester’. He has changed “Dost thou wear they wit by your side?” DP 5.1 suggesting that Benedick is now using his sword instead of his mind “Why , no more than reason” Bea/Ben 5.4 Both publicly deny their love and suggest that to love then other would be a form of madness “Another Hero” Cl 5.4 When Hero is revealed, Claudio’s confusion is humourous and also serious – this would terrify him “I will stop your mouth” 5.4 Ben silences Beatrice with a kiss. Possible establishment of male dominance. She says no more in the play. “Prince, thou art sad. Get thee a wife” Ben 5.4 telling DP to marry. Irony: DP has proposed to Bea in 2.1. Also exaggerates isolation of DP at end of play. No wife =no children = no heir… Elisabeth 1?

My Last Duchess– Knowledge Organiser

Plot summary: The dramatic monologue explores the colourful character of the Duke as he playfully informs his audience about his past. Subtly, he hides his repulsive treatment

behind a flamboyant performance. The Duke’s artificial attempts at timidity and elegance contrast to the strands of oppression, power and dominance over women revealed through the Duke’s narrative. The Duke appears to punish the Duchess for her unavoidable sexuality – her ‘smiles stopped together’. The Renaissance time (the 16th Century), when the poem was set, interested Browning as it was the start of a cultural shift towards aestheticism (beauty, mind and emotion) over religion and morality. The poem raises questions: does art have a moral component? Does the beauty of the painting or the language detract or add to the Duke’s devilish presentation?

Key characters

Key themes

The speaker who tells the story, most likely the Duke of Ferrara

Dominance of men over women

The Duchess: the former wife of the Duke.

Morality

The ‘strangers’ who are touring around the Duke’s house – presumably from his prospective new wife’s family Fra Pandolf the fictional painter of the portrait in the story Claus of Innsbruck, a fictional sculptor, who sculpted the bronze statue of the God Neptune taming a sea-horse.

The archaic desire to fix female sexuality Absolute power Stability vs. complexity of the modern world

Historical Context One of Browning’s most famous works. Frequently used in anthologies. Concerns a Duke who is giving his audience, arguably his new wife’s family, a tour of his home. He shows off a painting of his late, apparently flirtatious and unappreciative, wife. Based on real historical events involving a Renaissance, Italian Duke who married a young, uneducated girl with a large dowry. He abandoned the girl, who soon after died of a suspicious death, and pretty swiftly remarried.

Key Quotations

‘’twas not/ Her husband’s presence only, called that spot/ Of joy into the Duchess’ cheek:’ (I&P/L) ‘She had/ A heart – how shall I say? – too soon made glad,’ (S/F) ‘Even had you skill/ In speech – (which I have not) – to make your will’ (F/S) ‘As if she ranked/ My gift of a nine-hundred-thousand-years-old name/ With anybody’s gift.’ (I&P) ‘I gave commands; / Then all smiles stopped together.’ (L/I&P) ‘Paint/ Must never hope to reproduce the faint/ Half-flush that dies along her throat’ ‘The bough of cherries some officious fool/ Broke in the orchard for her,’ (F/I&P) ‘Notice Neptune, though,/ Taming a sea-horse,’ (S)

Stylistic features and relevant terms

Dramatic monologue Rhyming Couplet Enjambment Iambic pentameter Caveat Caesura Elision

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SKILLS

NON-FICTION CORE KNOWLEDGE

Vocabulary Convey

Colloquial

Precise Concise

Criticism Courteous Facilities

Provision

Definition

Language used in ordinary and familiar conversations. Not formal. Exact and accurate

Exam Question Requirements

Layout tips •

Formal letter – Your address top right. Their address to the left and under your address. Date to the right of the page. Dear Sir/Madam…Yours faithfully. Write in 1st person. Informal letter – Their address top right. Date underneath. Dear….From…. Write in 1st person. Report – Title of report. Write in 3rd person.

Writing for 2 different purpose, audience and formats with clear communication and technical accuracy. • Write a report about…..for…. • Write a letter to…..about… SPAG & vocabulary must be accurate and effective.

• Giving a lot of information clearly and in • a few words. Terminology

Definition

Success Criteria

Disapproval

PAFT

Purpose, audience, form and tone

Purpose

What a text trying to do. Is it informative, advisory or persuasive

Polite and respectful Places, amenities or things that are provided for a particular purpose Providing or supplying something.

Reiterate

To say something a number of times.

Elaborate

To develop or present something in further detail.

Proposal

Writing to: • Inform • Persuade • Advise

To communicate a message, information or idea.

Writing: SPAG – Applying spelling, punctuation and grammar effectively. Minimum expectations: capital letters, full stops, commas & apostrophes. Challenge: colons, semi-colons, parenthesis, exclamation marks, hyphens. Sentence structures – applying a variety for effect – simple, compound and complex. Using time and sequencing connectives. Paragraphing – TIPTOP rules & being able to apply these effectively. Persuasion – Using a range of techniques effectively and suitably (FATHORSE/HADAFOREST)

Audience

Who a text is aimed at

Format

The type of text (eg: letter, speech, report etc)

Tone

The way a piece of text sounds e.g. sarcastic etc. The mood or atmosphere in the writing.

2. 3. 4. 5. 6. 7. 8. 9. 10.

Clear purpose throughout (to inform, complain, persuade etc) Clear understanding of audience Clear format and layout Suitable tone (formal/informal, displeased, happy etc) Repetition Statistics/ Facts Paragraph Links Good structure Developing ideas/arguments clearly Using a range of punctuation including colons and parenthesise

Hyperbole

Use of exaggerated terms for emphasis.

Anecdote

A short story using examples to support ideas.

Directives

Using you, we or us.

Repetition

When words or phrases are used more than once in texts.

Statistics

Facts and figures

Punctuation Rules to Apply

Authoritative

Commanding and self-confident. Likely to be respected and obeyed.

Superlative

Declaring something the best i.e. the ugliest, the most precious.

Passive voice

When the subject of the sentence has an action done to it but something or someone else. E.g. the dog was being washed by the girl.

Capital Letters: For Proper Nouns – Name of place/person & at the start of a sentence Full Stops: end of a sentence that is not a question or statement Comma: separates lists/phrases/words & when using sentence adverbs (‘however’, ‘moreover’ etc.) from the rest of the sentence, & to indicate a sub-clause in a sentence Colon: to introduce a list. Parenthesise: To include additional information.

A plan or suggestion

Insufficient

Not enough

Inadequate

Not good enough

Negligible

Small and unimportant.

Recipient

Someone who receives something.

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Year 9- Knowledge Organiser- Of Mice and Men Of Mice and Men is a bleak tale of two migrant workers; the novel suggest that in order for life to be meaningful, it must contain hopes and dreams, even if they are unachievable.

Context

Characters

The Great Depression he Great Depression took place following the Wall Street Crash in October 1929 and affected the world’s economy. Wall Street is a street in New York City, where many financial firms are based, and the term Wall Street is used to describe the American sector. The Wall Street Crash happened as a result of the following factors: • many normal Americans had started investing in the stock exchange and borrowing money to do so • stock prices rose unsustainably And then stock owners all attempted to sell shares at the same time (Black Tuesday). Other actions that contributed included: too many goods being made and not enough were being bought, food prices were dropping, affecting farmers’ incomes. Following the Wall Street Crash, the USA recalled the huge loans that it had made to several European countries, meaning that the European economy was also affected by the crash. The American Dream is written into the Declaration of Independence: "life, liberty, and the pursuit of happiness." Lennie and George's dream of owning a farm and living off the "fatta the lan" symbolises this dream. Of Mice and Men shows that for poor migrant workers during the Depression, the American Dream became an illusion and a trap. John Steinbeck was an American writer (1902-1968) who was born in Salinas, where the novella is set. He often wrote stories as morals or allegories, that attempted to criticise or consider the social problems presented by the Great Depression or struggles of particular groups that suffered segregation. Other notable works include The Grapes of Wrath, The Pearl and East of Eden.

George- Lennie’s closest friend, George is protective of Lennie and loyal towards him, claiming Lennie stops him from getting mean. However, George can sometimes lack patience with Lennie’s optimism.

Lennie- naïve, immensely strong and gentle, Lennie has a mental disability that means he is solely reliant upon George. As a result, Lennie is the focus of Curley’s cruelty.

Curley: an insecure, violent man who actively looks for violence or opportunities to prove his worth. Incredibly possessive of his wife, Curley seems to pick fights to compensate for his lack of size.

Curley’s Wife: flirtatious and lonely, Curley’s wife is presented a s a danger to the other men because of the consequences if Curley suspects that they have interacted with her. She shares her lost dreams with Lennie, emphasising her lack of companionship.

Crooks: Cynical and yet to an extent a believer in the American Dream, stable manager and the only black migrant worker on the farm. As a result of this, he sleeps in the stables, segregated from the other men.

Slim: self assured and respected, Slim is the calm, quiet authority of the men at the ranch. He understands George and Lennie’s friendship but even he cannot protect others.

Candy The oldest worker, Candy is a crippled handyman with a feeble dog. Broken by life, Candy is desperate to believe in a dream or plan. He offers to help George and Lennie by cashing in his life savings to help them buy a farm.

Plot- The entire timeframe of the novella is four days. 1. George and Lennie camp in the brush by a pool, the night before starting new jobs as ranch hands. George finds Lennie stroking a dead mouse in his pocket. He complains that caring for Lennie prevents him from living a freer life. We find out that Lennie's innocent petting of a girl's dress led to them losing their last jobs in Weed. However, when they talk about their dream of getting a piece of land together, we know they really depend on each other. 2. When they arrive at the ranch in the morning, George and Lennie are shown around by old Candy. They meet their boss and, later, his son, Curley - George is suspicious of Curley's manner and warns Lennie to stay away from him. 3. Later that evening, George tells Slim about why he and Lennie travel together and more about what happened in Weed. The men talk about Candy's ancient dog, which is tired and ill. Carlson shoots it, as an act of kindness. George tells Candy about their dream of getting a piece of land and Candy eagerly offers to join them - he has capital, so they could make it happen almost immediately. Curley provokes Lennie into a fight, which ends up with Lennie severely injuring Curley's hand. 4. Crooks is alone in his room when Lennie joins him. They talk about land - Crooks is skeptical, not believing that George and Lennie are going to do what so many other men he's known have failed to do, and get land of their own. Yet when Candy happens to come in as well, Crooks is convinced and asks to be in on it too. Curley's wife arrives. She threatens Crooks and an argument develops. Crooks realises he can never really be part of George, Lennie and Candy's plan.

5. Next afternoon, Lennie accidentally kills the puppy that Slim had given him by petting it too much. He's sad. Curley's wife finds him and starts talking very openly about her feelings. She invites Lennie to stroke her soft hair, but he does it so strongly she panics and he ends up killing her too. He runs away to hide, as George had told him. Candy finds the body and tells George. They tell the other men - Curley wants revenge. 6. Lennie hides in the brush by the pool. He dreams of his Aunt Clara and the rabbits he will tend when he and George get their land. George finds Lennie and talks reassuringly to him about the little place they will have together - then shoots him with Carlson's gun. When the other men find George, they assume he shot Lennie in self-defense. Only Slim understands what George did and why.

Themes Hopes and Dreams, Loneliness and Companionship, Brutality and Dignity

Key vocabulary Cyclical narrative

Dustbowl

Microcosm

Segregation

Prejudice

Motif

Isolation

Pugnacious

Derogatory

Hierarchy

disengaged

Othello – Knowledge Organiser

A-PDF OFFICE TO PDF DEMO: Purchase from www.A-PDF.com to remove the watermark Plot summary: 1. In the opening scene, Iago complains to Roderigo that Othello, his Commander, has passed him over to promote the handsome young Cassio to be his Lieutenant. He vows to get revenge. Iago first asks Roderigo to tell Desdemona’s father, Brabantio, that his daughter has left to marry Othello, a marriage Brabantio opposes because Othello is a Moor. Brabantio confronts Othello, and they take their argument to the Duke, who has summoned Othello to ask him to sail to Cyprus to stop a Turkish invasion. Convinced by Othello and Desdemona that they love each other deeply despite their differences, the Duke gives Desdemona permission to travel with Othello. By the time they reach Cyprus the foreign threat has gone. 2. Iago manipulates Cassio to make him drunk and gets Roderigo to draw him into a street fight. Iago has his revenge on Cassio when Othello strips Cassio of his rank for misbehavior. Then Iago decides to make Othello believe his wife is unfaithful. He encourages Cassio to ask Desdemona to plead with Othello to be reinstated. Iago suggests to Othello that Desdemona is Cassio’s lover. Trusting Iago, and mad with jealousy, Othello promotes Iago and asks Iago to help him kill Cassio and Desdemona. 3. Iago plants Desdemona’s handkerchief in Cassio’s room. Cassio gives it to his mistress, Bianca. Othello believes Bianca’s possession of the handkerchief is proof that Desdemona and Cassio are lovers. He verbally abuses his wife in front of others, who are shocked at the change in the noble and powerful man. 4. Iago has manipulated Roderigo into trying to kill Cassio. The attempt goes wrong, and Cassio wounds Roderigo; Iago stabs Cassio in the leg. Othello hears Cassio cry out and thinks Iago has killed him. He returns home, ready to kill Desdemona. Meanwhile, Iago “finds” the wounded Cassio and accuses Bianca of causing Cassio’s injury. Iago quietly kills Roderigo and sends Emilia (Iago’s wife) to Desdemona with news of what has happened. 5. Othello reaches the sleeping Desdemona first. He kisses her, wakes her, and accuses her again. Over her protests that she loves him and is innocent, he smothers her. Emilia enters and Desdemona revives for a moment, declaring herself guiltless but saying, as she dies, that Othello is innocent of her death. Iago and others enter, and Emilia defends Desdemona’s innocence, recognizing that Iago is behind the tragedy. Othello sees the truth and tries to kill Iago. Iago kills Emilia and flees; Othello condemns himself and commits suicide. Iago is seized and taken away. Key characters Key themes Context Stylistic features and relevant terms DUKE OF VENICE William Shakespeare was born in 1564 to a successful middle-class glove-maker in Stratford-upon-Avon, Blank Verse Jealousy BRABANTIO, a Senator Other Corruption England. Shakespeare attended grammar school, but his formal education proceeded no further. Chorus Senators Race and colour Dramatic Irony In 1582 he married an older woman, Anne Hathaway, and had three children with her. Around 1590 he left GRATIANO, Brother to Brabantio Love Foil his family behind and traveled to London to work as an actor and playwright. LODOVICO, Kinsman to Brabantio Power Foreshadowing Public and critical success quickly followed, and Shakespeare eventually became the most popular Iambic Pentameter OTHELLO, a noble Moor in the Appearances and reality playwright in England and part-owner of the Globe Theatre. Prejudice Metaphor service of the Venetian state Men and honour Motif CASSIO, his Lieutenant IAGO, his Ancient (Ensign, Women and sexuality Oxymoron standard-bearer) Paradox Symbols and motifs Historical: The war between the Turks and Christians (Venetian state) provides a symbolic backdrop to Personification EMILIA, Wife to Iago Othello's tragedy. Cyprus is vulnerable and isolated, like Othello. Protagonist DESDEMONA, Daughter to Sight and blindness Social: Women in the Renaissance had few legal rights, and their life choices were commonly dictated by Puns Brabantio, and Wife to Othello Plants their fathers and husbands. However, Shakespeare creates strong female characters in Emilia and Repetition RODERIGO, a Venetian Desdemona, who challenge the social order even if they cannot overthrow it. Animals Simile Gentleman Hell, demons, and Literary: Shakespeare uses features of traditional Greek tragedy (Othello suffers from the fatal flaw of pride) Sonnet BIANCA, Mistress to Cassio monsters. and revenge tragedy (Iago is a scheming Machiavel). Symbol MONTANO, Othello’s The handkerchief Theme predecessor in the Government Philosophical: Most Elizabethans believed in the devil and accepted evil was hard to detect, thus making The ‘Willow’ song. of Cyprus Iago's deceptions both plausible and terrifying. Cultural: Elizabethans were generally suspicious of Italians, viewing them as immoral intriguers and some saw black men as lustful predators. Shakespeare makes use of and subverts these stereotypes.

Key Quotations A fellow almost damn'd in a fair wife, That never set a squadron in the field, Nor the division of a battle knows More than a spinster —Iago's description of Cassio, who was chosen by Othello to be his lieutenant, a position that Iago wanted. We cannot all be masters, nor all masters Cannot be truly follow'd. —Iago says that though he serves his master, Othello, he does so only for his own purposes, not to "truly follow" him.

I am not what I am. —Iago boasts that Othello doesn't really know him.

Even now, now, very now, an old black ram Is tupping your white ewe. —Trying to provoke Brabantio, Desdemona's father, Iago delivers an obscene description of sex between Othello and Desdemona. your daughter and the Moor are now making the beast with two backs —Iago again uses beastly imagery of sex in order to provoke Brabantio. Her father loved me; oft invited me; Still question'd me the story of my life, From year to year, the battles, sieges, fortunes, That I have passed. I ran it through, even from my boyish days, To the very moment that he bade me tell it —Othello describes how Desdemona's father loved to hear the story of Othello's warrior life. She loved me for the dangers I had pass'd, And I loved her that she did pity them This only is the witchcraft I have used. —The end of Othello's speech defending himself from Brabantio's accusation that he must have used drugs or magic on Desdemona. Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee. —Brabantio spitefully warns Othello that his daughter, Desdemona, may betray him. I saw Othello's visage in his mind. —In pleading with the Duke to be allowed to accompany Othello to Cyprus, Desdemona declares the depth of her love for Othello.

Put money in thy purse. —Iago promises Roderigo that he can have Desdemona, even though she is married to Othello and accompanying him to Cyprus. All Roderigo needs to do is assume a disguise, go to Cyprus, and "put money in thy purse." Framed to make women false. —Iago reflects on how Cassio's appearance and manners will aid in his plan to make Othello jealous. Cassio is handsome and charming, just the sort of man to tempt women to betray their husbands.

One that excels the quirks of blazoning pens. —Describing Desdemona, Cassio says that she is more beautiful than can be described by ingenious writers who have made women famous. I'll have our Michael Cassio on the hip, Abuse him to the Moor in the rank garb-For I fear Cassio with my night-cap too-Make the Moor thank me, love me and reward me. For making him egregiously an ass —Iago looks forward to the hugely satisfying outcome of his plot. O curse of marriage, That we can call these delicate creatures ours, And not their appetites! I had rather be a toad, And live upon the vapour of a dungeon, Than keep a corner in the thing I love For others' uses. —In a soliloquy, Othello explores the idea of Desdemona's unfaithfulness and sinks ever deeper into angry jealousy. Thy honesty and love doth mince this matter. —After Iago tells the story of the brawl into which Roderigo drew Cassio, Othello says that Iago is such a good friend to Cassio that he has varnished over Cassio's reckless behavior. Reputation, reputation, reputation! Oh, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. —Cassio mourns that he has lost his reputation by his rash and drunken actions. Excellent wretch! Perdition catch my soul, But I do love thee! and when I love thee not, Chaos is come again. —Just before Iago traps him into insane jealousy, Othello expresses his deep love for Desdemona.

If I do prove her haggard, Though that her jesses were my dear heart-strings, I'ld whistle her off and let her down the wind, To prey at fortune. —In a soliloquy, Othello says that if he finds proof that Desdemona has betrayed him, he'll just let her go. O, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on. —Iago, to make Othello even more jealous, warns Othello against jealousy. Villain, be sure thou prove my love a whore; Be sure of it; give me the ocular proof. —For a moment, Othello's jealousy turns into anger against Iago, and he demands proof that he can see. Who art so lovely fair and smell'st so sweet That the sense aches at thee, would thou hadst ne'er been born. —Othello, speaking to Desdemona, is torn between hate and love.

Put out the light, and then put out the light: If I quench thee, thou flaming minister, I can again thy former light restore Should I repent me; but once put out thy light, Thou cunning'st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume. —As he tries to bring himself to kill Desdemona, Othello confronts the finality of what he is about to do. Yet I'll not shed her blood; Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster. —As he prepares to kill Desdemona, Othello promises that he won't disfigure her. So sweet was ne'er so fatal. —Giving the sleeping Desdemona a kiss, Othello reminds himself that he is about to kill her. Speak of me as I am; nothing extenuate, Nor set down aught in malice. Then, must you speak Of one that loved not wisely but too well —Speaking to all who have been horrified by Othello's murder of his wife, Othello takes responsibility for what he has done and faces the consequences.

Ozymandias– Knowledge Organiser

Plot summary: The sonnet explores the ravages of time and reflects on the fact that all prominent figures and the empires they build are transient and their legacies fated to decay. Nothing endures. Death and decay are inevitable no matter how powerful we think we are.

Key characters The traveller who has seen the wreck The speaker who tells his story The sculptor who made the statue is referenced Ozymandias himself. His words, as they appear on the pedestal of his ruined statue, are included in the poem.

Key themes

Historical Context

Power and its transient nature

One of Shelly’s most famous works. Frequently used in anthologies. About an Egyptian king and the end of his empire but causes the reader to reflect on the fleeting nature of all power Written in competition with another poet. May have been inspired by the arrival of a statue of Ramesses II in the British museum. (Ozymandias is the Greek name for that king)

Inevitable decline of all leaders and empires Mortality Hubris The mockery death makes of mans’ pretentions of greatness.

Key Quotations ‘I met a traveller from an antique land’ (F/S) ‘Half sunk, a shattered visage lies’ (L) ‘wrinkled lip, and sneer of cold command’ (L) ‘stamped on these lifeless things’ (L/I&P) ‘'My name is Ozymandias, king of kings: Look on my works ye mighty and despair’ (F/L/I&P) ‘Nothing beside remains’ (L/I&P). ‘Boundless and bare’ (L) ‘Lone and level sands stretch far away’ (S/I&P).

Stylistic features and relevant terms Sonnet Enjambment Atypical rhyme Scheme Iambic pentameter Antiquity Transient Hubris Human condition Tyranny Empire

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Structuring a paragraph using ‘what, how, why’ What What is the writer trying to tell us about the character/theme/setting? What do they want us to feel as a reader? E.g. ‘How is the character of Inspector Goole presented in An Inspector Calls,’ then your ‘what’ may be: Priestley presents Inspector Goole as a straight-forward and direct character, who challenges the ideology of both the Birling’s and the audience, so that all understand the significance of the events leading up to the suicide of Eva Smith.

How How are they doing this? How do they use the language/language techniques/structure to do this? How do key words/phrases show this? How does it tell us something about the time a text was written/set or the writer’s perspective? Introduce and embed a quotation to develop your argument. This is your opportunity to analyse the connotations of words Inspector Goole uses emotive language to highlight the fact that after Birling sacks Eva, she was left with ‘few friends, lonely, half -starved, she was feeling desperate.’ Priestley lists emotive adjectives such as ‘lonely’ and ‘desperate’ in an attempt to make Birling understand the impact of his actions and empathise with the horrific situation that Eva was left in. The verb ‘starved’ with it’s connotations of being near to death, is a blatant attempt to guilt Birling into understanding the effect that the sacking had on Eva. As Birling has shown little compassion up to this point, we can sense the Inspector’s sense of frustration and anger that Birling has not learnt the lesson that he hoped he would have done – that of compassion for his fellow man. In the Inspector, Priestley reflects his own Socialist views, in particular the idea that we should all be responsible for one another, and be able to ‘put ourselves in the place’ of those who do not have the same opportunities or are as prosperous as ourselves.

Why Why are they doing this? Why did they choose that language? Why might they want us to interpret it in different ways? We could also interpret that Inspector Goole is not only talking to Birling, but all the characters on the stage. He wants them all to contemplate how myopic their word is, and indeed Sheila does seem to reply with some compassion for the girl’s predicament. An audience watching the play in 1945, having lived through two world wars, would perhaps see more clearly the hypocrisy of Edwardian values and the readiness to blame the ‘deserving poor’ without considering how it must feel to have nothing and nowhere to turn.

What? What is the writer trying to tell us about the character/theme/setting? What do they want us to feel as a reader? How? How are they doing this? How do they use the language/language techniques/structure to do this? How do key words/phrases show this? How does it tell us something about the time a text was written/set or the writer’s perspective? Why? Why are they doing this? Why did they choose that language? Why might they want us to interpret it in different ways?

DEEPER ANALYSIS: Upon first glance, it would appear______; however, on closer inspection… TRACING IDEAS THROUGHOUT THE TEXT: The symbol/idea/concept of ________ is further developed at a later point when…. ANALYSING AN ALTERNATIVE INTERPRETATION: The image/character’s actions/ could also be interpreted as… THE COMBINED EFFECT OF TECHNIQUES: The writer uses ____coupled with ______ to highlight… READER POSITIONING: The reader is encouraged/ positioned in favour of/against _____because….

Evaluation vocabulary

Phrases to ensure a sophisticated analysis

Subtle

Skilful

Admirable

Pleasing

This suggests/ implies/ indicates/ demonstrates/ portrays/ presents/ highlights/ emphasises/ develops…

Challenging

Striking

Compelling

Wonderful

The line/adjectives/noun/verb/phrase/image…

Crucial

Significant

Satisfying

Accomplished

It could be argued that/the reader may infer…

Pivotal

Provocative

Powerful

Commendable

You get the impression/the reader is positioned to feel/ the writer causes the reader to consider..

Emotional vocabulary

Outrage

Empathy

Anger

Irritation

Appalled

Relieved

Overjoyed

Sympathy

Approval

Excitement

Shock

Bemused

Justice

Catharsis

Pity

Satisfaction

Anxiety

Admiration

Disgusted

Injustice

Worried

Critical

Compassion

Disappointed

Disapproval

Challenged

Celebratory

Horrified

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ROALD DAHL READING CORE KNOWLEDGE

Terminology

Definition

Explicit

obvious or easy to select as the meaning

Implicit

inferred - it is suggested, but not actually said, the reader reads between the lines

Effect

cause (something) to happen; bring about:

Tension

state of mental or emotional strain or suspense in the story

Impression

an idea, feeling, or opinion about something or someone

Evaluate

form an idea of the amount, number, or value of; assess

Evidence

To use a quotation from a text (short and snappy is best)

Vocabulary

Definition

Macabre

SKILLS

Comprehension: Ability to select short, phrases or words that give exact responses to the question. Bullet point style answers, which are concise and to the point. Analysis Points: Link to the question Link to the terminology (Lang/Structure – evaluating choice) Short Quote(s) Explain meaning and effect – both obvious and hidden (explicit and implicit) Zoom in on words/explore connotations and effect Suggest what other readers might think/feel (offering an alternative opinion) Link to the writer’s intentions (step out from the close analysis to give an overview of meaning) Explore a linking quote/supporting idea Evaluation Points Evaluation Points: Link to the question Give a quote which links to your idea Explain briefly what the quote means Explain your own opinion in relation to the question Explain what other reader suggest or predict what other readers might contradict your opinion or point with.

Disturbing because it is concerned with death.

Sinister

Evil and dangerous

Psychopathic

– Having a serious mental illness that leads to violent behaviour

Stereotype

An oversimplified idea of the typical characteristics of someone/something

Subverting

damage or weaken an established system

Naive

Lacking experience, wisdom or judgement

Vulnerable

Exposed to harm in some way

Menace

Associated with a sense of threat or danger

Compulsion

an irresistible urge to do something / forced to do something

Tranquil

Calm, free from disturbance

Animalistic

Displaying similar behaviour to that of an animal

Exam Question Requirements A1 A2

One question with five points • Selecting evidence or own words, Bullet point list, No analysis One Language Analysis question • Link to question, Link to technique – language, Quotation – 4 – 5, Explore hidden & obvious meaning & Effect, Link to writer’s intentions One Language Analysis question • Link to question, Link to technique – language , Quotation – 7 – 8, Explore hidden & obvious meaning & Effect, Link to writer’s intentions One Language/Structure Analysis question • Link to question, Link to technique – language and structure/tension/drama, Quotations – 7 – 8, Explore hidden & obvious meaning & Effect, Link to writers’ intentions One persuasive evaluation question • Link to question, Give own opinion, Quotations – 7 – 8, Evaluate the writers’ viewpoint and own response to this

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ROALD DAHL WRITING CORE KNOWLEDGE

Vocabulary to create emotions

Definition

Uplifting

Inspiring happiness or hope

Joyful

Expressing great pleasure or joy

Hopeful

Feeling or inspiring optimism for the future

Despair

Complete loss of all hope

Distress

Extreme anxiety, sorrow or pain

SKILLS

Writing: SPAG – Applying Spelling, punctuation and grammar effectively. Minimum expectations: capital letters, full stops, commas & apostrophes. Challenge: colons, semi-colons, parenthesis, exclamation marks, ellipsis Sentence structures – applying a variety for effect – simple, compound and complex. PANIC sentence openers & being able to apply these. Paragraphing – TIPTOP rules & being able to apply these effectively. Freytag’s narrative structure – able to apply the narrative structure

Terminology

Definition

Freytag’s narrative structure

Exposition, Rising Action, Falling Action, Climax, Resolution

Exposition

a comprehensive description and explanation of an idea or theory:

Rising Action

is a series of relevant incidents that create suspense, interest and tension in a narrative

Falling Action

is what occurs directly after the climax

Climax

the most intense, exciting, or important point of something; the culmination

Melancholy

A feeling of pensive sadness with no obvious cause

Optimistic

Looking at the positive aspects of life

Resolution

the action of solving a problem or contentious matter

Pessimistic

Looking at the negative aspects of life

Cliff-hanger

that leaves the character in a seemingly impossible situation

Pensive

Thoughtful mood

Withholding information

suppress or hold back (an emotion or reaction or event in a story).

Frustrated

Feeling of annoyance

Plot

Inferior

Lower in rank status or quality

the main events of a play, novel, film, or similar work, devised and presented by the writer as an interrelated sequence.

Character

Sentimental

feelings of tenderness, sadness, or nostalgia

the mental and moral qualities distinctive to an individual in a story

Setting

the place or type of surroundings where something is positioned or where an event takes place

Powerful

Having great power or strength

The Senses

Sight, Sound, Touch, Taste, Feel – embedding these elements into a story

Insignificant

Too small or unworthy to be considered important

Pathetic Fallacy

ascribing human conduct and feelings to nature

Symbolism

the use of symbols to represent ideas or qualities

Nostalgia

A longing for the past

Exam Question Requirements Write a clear, believable and engaging short story which has a start, middle and end and which follows a clear plot line. Organisation and Communication must be well structured and clear. SPAG & vocabulary must be accurate and effective. Success Criteria for a well thought out story

1. Unusual, intriguing description 2. Showing not telling 3. Repetition 4. Pathetic fallacy 5. Symbolism 6. Confident and Knowing Style in your writing 7. Paragraph Links 8. Short sentences for powerful effect 9. Using sub-clauses in the middle of sentences 10. Starting sentences in a variety of ways PANIC: With a preposition, adverb/adjective, noun, ‘ing’ word (verbs), connectives Punctuation Rules to Apply Capital Letters: For Proper Nouns – Name of place/person & at the start of a sentence Full Stops: end of a sentence that is not a question or statement Comma: separates lists/phrases/words & when using sentence adverbs (‘however’, ‘moreover’ etc.) from the rest of the sentence, & to indicate a sub-clause in a sentence Apostrophe: ~ to show that letters have been left out. & to show possession.

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Romanticism

Etymology: The group of words with the root ‘Roman’ in the various European languages, such as romance and Romanesque, has a complicated history, but by the middle of the 18th century "romantic" in English and romantique in French were both in common use as adjectives of praise for natural phenomena such as views and sunsets, in a sense close to modern English usage but without the sexual connotation.

"Romanticism is precisely situated neither in choice of subject nor exact truth, but in the way of feeling” From a speech by Charles Baudelaire.

1776 American Declaration of Independence “I wandered lonely as a cloud”

1783 William Pitt elected Prime Minister (aged 24) William Wordsworth. 1787 American Constitution signed

“My luve is like a red, red rose / That’s newly sprung in June” Robert Burns.

(dates, significant texts)

Samuel Taylor Coleridge (1772-1834): ‘The Ryme of the Ancient Mariner’; ‘Kubla Khan’ William Wordsworth (1770-1850): The Lyrical Ballads (with Coleridge); ‘The Prelude’. Percy Shelley (1792-1822): Prometheus Unbound. Lord Byron (1788-1824): ‘When we two Parted’; Don Juan; ‘She Walks in Beauty’. John Keats (1795-1821): The Odes, especially ‘Ode to a Grecian Urn’ and ‘Ode to a Nightingale’. Robert Burns (1759-1796): ‘To a Haggis’; ‘Tam O’Shanter’; ‘To a Mouse’; ‘Auld Lang Sine’.

1760 George III is crowned 1773 Boston Tea Party

Key Poets

William Blake ( 1757-1827): Songs of Innocence and Experience; ‘Jerusalem’.

Key Dates

And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen?

1788 George III suffers mental breakdown (officially replaced by son as Regent, 1811) Storming of the Bastille in Paris 1805 Napoleon defeats Russian and Austrian armies at Austerlitz

1807 Abolition Act receives royal assent, abolishing And did the Countenance Divine the slave trade Shine forth upon our clouded hills? And was Jerusalem builded here 1815 Napoleon defeated at Waterloo; exiled to Among these dark Satanic Mills? Saint Helena in August William Blake, ‘Jerusalem’.

Key Novelists (dates, significant texts) Mary Shelley (1797-1851): Frankenstein.

Walter Scott (1771-1832): Waverley; The Heart of Midlothian; Rob Roy. * Jane Austen (1775-1817): Sense and Sensibility; Norhtanger Abbey; Pride and Prejudice; Emma. *

1832 Reform Bill receives royal assent 1837 Queen Victoria is crowned

Key Dramatists (dates, significant texts) William Shakespeare (1564-1616): King Lear; Hamlet; Romeo and Juliet; The Tempest.

STRUCTURAL TERMINOLOGY Definition: Structure refers to the way a piece of writing is organised. Every piece of writing contains a combination of structural techniques. These are the materials with which extended pieces of writing are built. Writers use particular structural techniques to achieve specific effects. By organising their writing in these ways, authors are trying to control the ways you think about the story and how you feel about its characters.

Characters First impressions – what are you made to think of the character the first time you meet her / him? Altered impression – how does the writer change your view of a character?

General Terms

Plot or story – What happens and in what order?

Exposition – the beginning: when places, people and the situation are introduced. Rising action – a situation develops: a series of relevant incidents that create suspense, interest and tension in a narrative. Climax – the situation becomes critical: the most intense, exciting, or important point of a story, where the issue is fought out. Anti-climax – something significant seems to have been building up but at the final moment it all collapses, or is undermined. Falling action – the calm after the storm: this occurs right after the climax. It is what happens after the main problem of the story has been solved. Resolution (or denouement) – the solution: this is the end of the story, when lessons are learned, justice is served and people begin to live with the consequences.

Sentence Structures

Narrative – How is the story told?

First person – when the narrator tells his or her own story using the pronouns ‘I’ or ‘we’. Third person – when a story is told by some kind of witness to the events who uses people’s names and the pronouns ‘he’, ‘she’ or ‘they’. Narrator – the storyteller. Monologue – when one character speaks for him or herself. Dialogue – this is how writers present conversations between characters. Reported speech – when we are told what a speaker meant rather than what exactly he or she said; e.g. ‘he said that he would go’, based on ‘I will go’. Free indirect discourse – when a narrator adopts the language of a particular character in narrating what is happening; e.g. ‘Lily the caretaker’s daughter was literally run off her feet’. Flashback – when a narrator takes you back in time to show you an event from a character’s past?

Sequencing – the order of the events or of the descriptions.

Simple sentences – these express one simple idea; e.g. ‘Jesus Circular narrative – when the last line of an extract wept.’. They can be very short. takes you right back to the beginning.

Contrast – when two different types of setting or character are presented together so that they reveal something about one another. Repetition – when the same word, phrase or image appears again and again in a piece of writing. Building tension – when a writer makes you feel or fear that something dramatic is going to happen.

Compound sentences – these express two simples ideas and a conjunction (FANBOYS) is used to stick them together; e.g. ‘Jesus wept and the disciples ran away.’. Complex sentences – these express a complex idea; e.g. ‘Upset, Jesus wept.’. They can be very long. Non-sentences – sometimes writers present words or phrases as if they are sentences; e.g. ‘Jesus.’.

Foreshadowing – when a writer makes you feel that a specific thing is going to happen; e.g. a murder or a marriage.

Short sentences – sentences of no more than seven words are often used to create a feeling of pace or urgency.

Key Questions Think about how the structure works in terms of the effects it creates. Ask yourself why the paragraphs are ordered the way they are. Is it important for us to know certain bits of information before we get to the next part of the text? Look for links from the beginning to the end of a text. For example, is there a repeated image? Or is there a significant change in an attitude, character or setting?

The Emigrée – Carol Rumens Plot

Persona speaks about a city in a country she left as a child. Wholly positive view. City appears to be under attack and unreachable until it appears to the speaker in stanza 3. Unknown “they” accuse and threaten the speaker but she still keeps her positive outlook on the city. • The city may not be real but a representation of a time , person or emotion that speaker has left behind. Stylistic features Key themes Key characters Historical Context and relevant terms Loss and Carol Rumens an English poet, lecturer and translator. Emigree appeared in The Emigrée, our first person narrator, reflects absence 1993 collection, Thinking of Skins Personification on a city she left as a child. She has a sense of Emigrants are people who have left the country of their birth to settle elsewhere in Memory NOSTALGIA toward the place she left: the world. The spelling of the word Rumens chooses - émigrée - is a feminine form Storytelling unwavering positivity and a level of yearning. and suggests the speaker of the poem is a woman. Identity Tyrants: a suggestion that the county the speaker Key Quotations Metaphor Individual left has been invaded – is the speaker an Experiences of unreliable narrator? Juxtaposition “There once was a country…” conflict They: inhabitants of the city the narrator now “My memory of it is sunlight-clear” Imagery of Innocence occupies. Threatening and accusatory. Seem to believe the city she now occupies is free whereas heaven “my original view, the bright filled paperweight” Nostalgia she sees it as restrictive. • •

“may be sick with tyrants”

Sensory Language

“time rolls its tanks”

Repetition

“It tastes of sunlight” “They accuse me of absence, they circle me / They accuse me of being dark in their free city” “evidence of sunlight.”

End stopping (final stanza, confines of new city walls) Enjambment

The Prelude: Stealing the Boat – William Wordsworth Plot

Key

The extract begins on a summer evening. Narrator finds a boat tied to a tree so he unties it and takes it out on a lake. Intially the narrator seems happy and confident and he describes the beautiful landscape but a mountain appears on the horizon and the narrator begins to fear it’s giant size and power. (Sublime) • He turns the boat around and goes home, view of nature changed. Stylistic features Key themes characters Historical Context and relevant terms Power of An extract from the first of fourteen books (Introduction – Childhood and The narrator: the speaker in the poem is Nature Schooltime) that make up Wordsworth’s ‘The Prelude’ Personification Wordsworth himself. “Stealing the Boat” is an Wordsworth a ‘Romantic’ poet. This means he was interested in the connection between Memory extract from the prelude which explores key nature and human experience and emotion. Tone (changes moments and experiences in his life. across poem) Fear Key Quotations The mountain: personified through the poem as Pride dark, powerful and somewhat threatening – Pastoral images “it’s usual home. / Straight I unloosened her chain” represents the sublime in the natural world: of nature Individual both beautiful and terrifying. “with an unswerving line” Experience • •

Sublime Confidence Reflection

“the horizons utmost boundary; far above / was nothing but the stars and the grey sky” “a huge peak, black and huge” “growing in stature the grim shape/ Towered up between me and the stars” “in grave and serious mood” “there hung a darkness, call it solitude” “trouble to my dreams”

Volta (appearance of mountain)

Blank verse (poem sounds serious and conversational) Imagery Autobiographical First person Simile

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Analysis Points:

Terminology

Definition

Imagery

visually descriptive or figurative language

Simile

comparison between two things using like or as

Metaphor

a comparison as if a thing is something else

Onomatopoeia

words that sound like their meaning

Symbolism

the use of symbols to represent ideas or qualities

Repetition

when words or phrases are used more than once in texts

Personification

Giving human qualities to inanimate objects

Persona

The voice/ speaker of the poem. Different from the writer.

Semantic field

A group of words related in meaning.

Sonnet

A 14 line poem, with a clear rhyme scheme. Usually focuses on love.

Free-verse

A poem that doesn’t have any clear rhyme scheme of rhythm.

Alternate rhyme

When alternate lines share the same rhyme scheme (ABAB)

Rhyming couplet

Juxtaposition Enjambment

Caesura

• • • • • • • •

Link to the question Link to the terminology (Lang/Structure – evaluating choice) Short Quote(s) Explain meaning and effect – both obvious and hidden (explicit and implicit) Zoom in on words/explore connotations and effect Suggest what other readers might think/feel (offering an alternative opinion) Link to the writer’s intentions (step out from the close analysis to give an overview of meaning) Explore a linking quote/supporting idea EXAM REQUIREMENTS

SINGLE POEM ESSAY – 20 mins (including planning time) Intro – link to question. Explain the overall meaning of the poem briefly. Throughout the essay – Choose relevant quotes and analyse the language, structure and effect of these quotes. Refer to the question regularly. COMPARISON POEM ESSAY – 40 mins (including planning time) Intro – link to question. Explain the overall meaning of the poem briefly. Throughout the essay– Start with the 2nd poem, choose relevant quotes from the poem and analyse the language, structure and effect of these quotes and then how they link to examples and analysis from poem 1. You must use connectives of comparison. Refer to the question regularly.

Two previously unseen poems. 1 single poem essay. 1 comparison essay.

Things to consider comparing: • • • • • •

Ideas Themes Effect on reader Writer’s intentions Tone Mood and atmosphere Imagery Narrative voice Language techniques Structural techniques Shift of focus Beginning End

• • • • • • •

Vocabulary

Definition

Optimistic

Having a sense of hope, confidence or positive outlook.

Similarly

Contrastingly

Pessimistic

A pair of rhyming lines which follow on from one another (AA, BB)

Lacking hope, confidence and not having a positive outlook.

In the same way

On the other hand

Compassionate

Demonstrating love/ care/ understanding.

Also

However

placing contrasting ideas close together in a text

Dismay

Concern or distress.

In addition

Whereas

incomplete sentences at the end of lines in poetry, where the line runs into the next line

Elation

Exceptional happiness

Hostile

Showing or feeling dislike/ being unfriendly.

a break in the middle of a line of poem using punctuation (. , : ; )

Melancholy

A feeling of sadness.

Jovial

Cheerful and friendly.

Mocking

Making fun or someone/something.

Vengeful

Seeking to harm someone/something. Like revenge.

End-stopping

punctuation at the end of a line of poetry

Rhythm

A recurring beat in the poem

Comparison Connectives

Tentative Phrases Could

Maybe

Might

Possibly

May

Perhaps

Appears

Seems to

Key Characters

Antoinette – The main character and, sometimes, narrator, Antoinette is a reimagining of Bertha Mason from Jane Eyre. The novel charts her development (or regression) from normal, carefree child to enslaved wife of a cruel husband. Edward Rochester— Unnamed in the novel, Rochester is the second son of a wealthy English family. He seeks his fortune through marriage to a wealthy Creole heiress but eventually inherits the family estate anyway.

“Women must have spunks to live in this wicked world.” Gender, power. “Justice. I’ve heard the word. It’s a cold word. I tried it out...I wrote it down. I wrote it down several times and always it looked like a damn cold lie to me”. Gender, race, unfairness, power. “I know, that’s obeah too”. Gender, power, imperialism. “You can touch and hold like my red dress, that has a meaning”. Identity, gender.

Christophine— an obeah woman who was Antoinette’s mother’s maid and a nurse while Antoinette was growing up. Powerful and feared.

“What am I doing in this place and who am I?” Identity, place, gender.

Mr Mason – Antoinette’s stepfather. He is a wealthy plantation owner who doesn’t understand race relations or why the natives him and his family.

Bildungsroman – a coming-of-age novel in which we witness the growth of a character from childhood to maturity.

Tia – a young native girl. Tia and Antoinette are friends until the night of the fire, when Tia throws a rock in her face.

Relevant Terminology

Colonialism – at the time WSS is set, the British Empire covered a quarter of the globe. This meant that millions of people around the world were ‘British subjects’.

Exposition Building Action

“They say when trouble comes close ranks, and so the white people did. But we were not in their ranks” Race, tension, imperialism. “We stared at each other, blood on my face, tears on hers. It was as if I saw myself. Like in a looking-glass”. Race, difference, naivety.

Antoinette describes her life at Coulibri. An uncomfortable situation is described to do with racial tension and mistrust. Antoinette’s house is burned down by restless natives. Her brother Pierre dies in the fire and her mother is driven mad by grief. Antoinette marries an unnamed Englishman who is his father’s second son. He has married her, after suffering from a fever, for money.

Antoinette’s husband becomes distant and cruel. He renames her Bertha. Climax

The novel is written as a prequel and response to Charlotte Brontë's noted novel Jane Eyre (1847), describing the background to the marriage that Jane learns about after going to work for Mr. Rochester. It is the story of Antoinette Cosway, a white Creole heiress, from the time of her youth in Jamaica, to her unhappy marriage to a certain English gentleman

Key Plot Points

Falling Action

Key Quotations

Resolution

Wide Sargasso Sea, Jean Rhys

Antoinette is moved to England where she lives, as a prisoner, in the care of a severe woman named Grace, who is highly paid for keeping the secret.

Antoinette has a dream in which she burns down the large house where she is kept.

Word Classification

Punctuation

Semi-Colon

; Used to join two related independent clauses.

Finite Verbs

Colon

: Used to precede lists, expansions or explanations.

Dash

- Used to separate information from an independent clause or parenthetically. , Used to separate items in a list.

Auxiliary Verb

Non-Finite Verbs Past Participle Present Participle Gerund Cocoordinating Conjunctions Subordinating Conjunctions Sentences Main Clause

A verb used to form tenses, moods and voices of other verbs: be, do, have, can, could, may, might, must, shall, should, will would The main verb of the sentence which must change if one of tense, person or number changes. A secondary verb in a sentence that can always be used even if the tense, person or number in the sentence changes. A word formed of a verb ending in ‘ED’ used as an adjective to describe a noun e.g. ‘The scared man jumped forward.’ A word formed of a verb ending in ‘ING’ used as an adjective to describe a noun e.g. ‘The laughing man jumped forward.’

Comma – Lists

A verb that functions as a noun e.g. ‘Swimming is my favourite sport’ A conjunction placed between clauses of equal importance: For, And, But, Or, Yet, So (FANBOYS).

Subject Terminology

A clause that can stand alone as a sentence e.g. ‘The cat sat on the mat’. A clause that depends on an independent clause to make sense e.g. ‘Without turning around, the cat sat on the mat’. A dependent clause that is embedded within an independent clause e.g. ‘The man, who appeared from nowhere, sat next to the cat’. A sentence that only contains one main clause.

Subordinate Clause Embedded Clause Simple Sentence Compound A sentence containing two main clauses joined by a co-ordinating Sentence conjunction Complex A sentence containing a main and a subordinate clause joined by a Sentence subordinating conjunction. Vocabulary to explain thoughts/feelings Aggravation Irritation Agitation Annoyance Alienation Isolation or being kept apart Anguish Anger

Comma – Separating main and subordinate clauses

, Used to separate dependent clauses from independent clauses.

Plosive

“b,” “p,” “t” and “d” sounds – which can be harsh, aggressive or shocking.

Sibilance

Repeated “S” sounds – most often caused by “s” “ss” and “c.” These can be harsh, smooth or sickly.

Assonance Rhyme Couplet

A repetition of vowel sounds. The repetition of syllable sounds – usually at the ends of lines, but sometimes in the middle of a line (called internal rhyme). A pair of rhyming lines which follow on from one another.

Stanza

A group of lines separated from others in a poem.

Enjambment Caesura

The running over of a sentence from one line to the next without a piece of punctuation at the end of the line. A stop or a pause in a line of poetry – usually caused by punctuation.

End stopped

A line of poetry ending in a piece of punctuation which results in a pause.

Common Errors Homophone To Too Two

Words that sound the same but have different spellings and meanings. A preposition An adverb indicating addition or excess A number